
LIBRARY OF CONGRESS 



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NEEDLE-CRAFT: 

ARTISTIC AND PRACTICAL. 



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coPVKu;nr, 1880, 

By the Butterick Publishing Comtanv, (i.imheu). 






METROPOLITAN 



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ART SERIES. 



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NEEDLE-CRAFT 



ARTISTIC AND PRACTICAL. 



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NEW YORK: 
THE BUTTERICK PUBLISHING COMPANY, (Limited). 

1889. 



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'■' So delicate with her needle.'' 

— Shakspeare. 

"The bright little needle — the swift-flying needle, 
The needle directed by beauty and art." 

— Samuel Woochvorth. 






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*^ * INTRODUCTION. * p* 

4 ^ 



There is no subject which receives a greater 
share of attention than that of home decora- 
tion, and among the many books devoted to 
the consideration of various interests, none is 
more carefully read or more fairly condemned 
or approved, than those which are published 
for the aid and instruction of home-makers 
who are constantly looking about for helpful 
hints and suggestions. Much that is artistic 
is often nnpracticable, because it does not 
come within the possibilities of busy women, 
whose time must be carefully apportioned. 
Again, a great many of the beautiful designs 
furnished for home decoration are compatible 
only with certain modern styles of architecture 
and special furnishings. Pretty things that 
are not too capricious in style nor too extrav- 
agant in their requirements of material and 
labor are the most adaptable to the majority 
of homes, which owe their attractiveness to 
the busy fingers of wives and daughters. 



The actual value of decoration depends on 
its relation to surrounding objects, and de- 
signs which can be adapted to simple as well 
as to elaborately furnished rooms are the 
best aids to the woman whose efforts to make 
her home beautiful may make her acquainted 
with many implements beside palette and 
brush. 

This book is the first in a series devoted to 
home art. In it are included many of the 
numberless objects of use and beauty which 
deft fingers and artistic tastes enable a lady 
to provide at trifling or moderate expense, 
according to her means and inclination, for 
the adornment of her home. In the remain- 
der of the series a still greater number of 
fancy and practical articles will be illustrated 
and described. Upon its merits as a help to 
those who desire the aid of such a book, the 
initial volume is offered to home artists. 



THE BUTTER'IGK PUBLISHING G0MPANY, 



(LlMI'l'ED). 






NeeDLe-d^AFT. 




CHAPTER I. 

WHAT IS ARTISTIC NEEDLE-WORK ? ... 

CHAPTER II. 

MATERIALS FOR ARTISTJC NEEDLE-WORK, . 

CHAPTER III. 

SOUTH-KENSINGTON NEEDLE-WORK STITCHES, . 

CHAPTER IV. 

EMBROIDERED DOILY, AND EMBROIDERY DESIGNS 
FOR SET OF DOILIES, ..... 

CHAPTER V. 

TRAY-COVER, AND EMBROIDERY DESIGNS FOR ITS 
CORNERS, 



PAGE 

'3 



15 




NeeDLG-CRAFT. 




CHAPTER IX. 
DESIGNS SHOWING VARIOUS EMl'.ROIDERV STITCHES, 



CHAl'TER X. 

EMHROIDERV DESIGNS, ESPECIALLY ADAPTED TO 
THE DECORATION OF ARTICLES OF DRESS, . 

CHAPTER XI. 

DESIGNS ADAPTED TO KENSINGTON E.MBROIDERY 
OR PAINTINC;, 

CHAPTER XII. 

ILLUSTRATIONS AND DESCRIPIIONS OF VARIOUS 
DESKINS FOR CANVAS, CARDIiOARD AND OTHER 
EMBROIDERIES, 

CHAPTER XIII. 

SPECIMENS OF LACE AND METHOD OF MAKING, 

CHAPTER XI\'. 

EDGING AND INSERTION OF DARNED NET AND 
FANCV TIDV, ...... 

CHAPTER X\". 

CROCHKTTED WORK. EXPLANATION OF BASIS OF 
ALL CROCHEITED WORK. ILLUSTRATIONS AND 
DESCRIPTIONS OF STAR SlITCH, 

CHAPTER XVI. 

TAM O'SHANTER HAT AND MEIHOD OF MAKING IT. 
FANCV HORSE REINS AND MKI HOD OF MAK- 
ING THEM, 

CHAPTER XVII. 

CROCHETTED LAMnRE(JI-|N. AND METHOD OF MAK- 
ING, 

CHAPTER X\ III. 

CROCHETTED WORK IN CRA/,\' STITCH. 



l-AOE 

49 



63 

69 

73 

81 

85 
89 

93 

97 

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NeeDLe-cF^iiFr. 



IX 




CHAPTER XIX. 

CROCHETTED I.ACE EDGINGS AND INSERTION, 

CHAPTER X\. 

CROCHETTED LACE EDGING AND INSERTION^ SUIT- 
ABLE FOR LINEN, SILK. OR COTTON. 

CHAPTER XXI. 

CROCHETTED LACES, WITH BRAID HEADINGS, AND 
METHOD OF MAKING THEM, . . . . 

CHAPTER XXil. 

COLLARS, EDGINGS AND INSERTION OF FEATHER 
EDGED BRAID, ..... 

CHAPTER XXIII. 

MACRAME LACE WORK, 

CHAPTER XXIV. 

FRINGES AND THEIR CONSTRUCTION, . 

CHAPTER XXV. 

ORNAMENTAL PORTIERES, .... 

CHAPTER XXVI. 

MANTEL LAMBREQUINS AND DRAPERIES, 



I'3 



117 



127 



133 



147. 



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CHAPTER XX\TI. 

WINDOW DRAPERIES, 

CHAPTER XX\'III. 

TABLES AND TABLE .SCARFS, .... 

CHAPTER XXIX. 
FANCY SCARF WITH CRAZY EMBROIDERY. GROUP 
OF FANCY .STITCHES, 




CHAPTER XXX. 

ALPHABETS FOR MARKING, . 

)©©@©©€ 



167 



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187 



19.5 



Neeii)Le-ci^AFr. 




COJSrjTElJSrTB. 




CHAPTER XXXI. 

RECEPTACLES FOR SHOES, UMBRELLAS AND CANES, 

CHAPTER XXXn. 
infant's CARRIAGE-PILLOW AND BLANKET, 

CHAPTER XXXIII. 
FANCY-WORK APRONS, 

CHAPTER XXXIV. 

SOFA PILLOWS AND CUSHIONS 

CHAPTER XXXV. 
TIDIES AND FANCY MATS, 

CHAPTER XXXVI. 
FANCY TOWELS AND SPLASHERS, . 





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c- NEEDLE ^^K^ CRAFT. 






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CHAPTER I. 



WHfiT- 'IS ARTlST'ld NEEDLE-WORK? 



' Man to the field, and woman to the hearth, 
Man with the sword, <;«</ k'/M //le tieedle she ; 
Man with the head, and woman with the heart ; 
Man to command, and woman to obey." 




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FTER reading the lines quoted, no 
one would expect a man to an- 
swer the question, " What is artis- 
,^^,^ tic needle-work?" But curiously 
enough the qualities which earn 
for needle-work the adjective 
" artistic " are those which men as 
well as women are quick to per- 
ceive and admire. Nowadays the 
value of beauty is gauged largely by its rela- 
tion to utility, and any product of the needle 
which not only serves a useful purpose, but 
adds a touch of beauty to an otherwise plain 
object is rightfully considered artistic. With 
both head and heart womankind essays to 
render her needle useful in imparting attrac- 
tiveness to the numerous belongings of home, 
and the results are often beautiful, and rarely 
unworthy of commendation. 

More than eight centuries ago was wrought 
the famous Bayeux tapestry, which is to-day 
a highly prized relic of ancient needlework. 



It is only about half a yard wide, but is nearly 
seventy-five yards in length, and upon it 
Matilda, the pious Norman Princess, and her 
ladies wrought a scenic history of the invasion 
and conquest of Britain by Duke William. 
As a relic and as a monument of industry 
and patience it is most valuable, and its 
merits appreciate in proportion to its faults ; 
tor certainly such an accomplishment must 
reflect credit upon those who encompassed it 
at a time when the materials for such work 
were none of the best and the highest approval 
accorded it could not be termed an incentive 
toward artistic results. But it remains as 
a monument of ^|voman's mgenuity, and we 
who gazed upon it when it was unrolled in this 
city, could not but ponder upon its weird and 
intricate history, apart from its association 
with events which all the civilized world may 
now read of around the evening lamp ; and 
we willingly forgave the observer who staled 
that " even a casual observation of the Bayeux 
tapestry quite reconciled any one to living 
in an age which decorated its whisk-broom 
handles," for the happy mistress of the tiniest 
cottage would not care to accept this speci- 
men of ancient needle-work, if she were 



M 



NeefiLG-ci^AFr. 



obliged to look at it constantly. As a result 
achieved under unfavorable circumstances 
and conditions, it however teaches a valuable 
lesson. 

Nowadays all the aids which taste and inge- 
nuity can devise are supplied to those who de- 
sire to use the needle in the cause of home 
decoration, and those who take delight in 
making their homes beautiful are eager to 
seize each opportunity for varying or increas- 
ing their efforts. The Delineator has long 
been highly prized for the help it has afforded 
in this respect alone, and new subscribers in 
large numbers have written to us, asking for 
instructions regarding fancy-work illustrated 
previous to the time when their subscriptions 
began. Whenever practicable, information on 
the subject has been afforded them, but the 
rapid and steady increase in the circulation of 
the magazine has often made it impossible to 
furnish back numbers. Appreciating the de- 
sire of our ])atrons for a complete and con- 
nected book possessing the same practical and 
artistic value that has always characterized 
the specimens of fanc)'-work illustrated in the 
Delineator, we have collected within the pages 
of Needle-Craft the choicest illustrations of 
such articles of use and beauty as are most 
in demand at the present time, and likely to 
remain permanent favorites with people of 
cultured tastes. 

Our selections have been made from the 
lists of those which have been published from 
month to month in the Delineator, and supple- 
mented by many that have not been pub- 
lished in the magazine. We have been aided 
by the suggestions and requests of new sub- 
scribers who have written us for informa- 
tion, and we feel confident that this book will 
fully meet the wants of those busy home- 
makers and housekeepers who are constantlj' 



seeking something new in the line of decora- 
tion for their homes and belongings. Every 
illustration is accompanied by an accurate 
description of the method to be followed and 
the purpose which the article it represents or 
is intended to serve; and the book is replete 
with suggestions of especial value to those 
who are often in doubt about the best way of 
obtaining certain decorative effects, in produc- 
ing which the needle is woman's iiuplement. 

The practicality and also the beauty of the 
designs illustrated are quite evident, for not 
a single fancy stitch, however simple or com 
plex, is illustrated that its special application 
to prevailing decorative purposes is not fully 
explained; not a design for embroidery is 
illustrated that may not be transferred to 
paper and reproduced without difficulty on 
the article to which it is adapted. Indeed, the 
book might appropriately have been named 
"a complete guide to all kinds of household 
decoration," for it covers a range of subjects 
extending from the simplest towel-working to 
the making of the various decorative adjuncts 
which impart an air of refinement, and with- 
out which the most sumptuously furnished 
apartment is never quite satisfying. 

The value of the aid to be obtained from 
this book is not gauged by large expenditures 
of money; its contents include suggestions 
and illustrations which the possessor of a 
large income will find valuable, but they are 
in the main intended to meet the wants of 
those who freely aver that they have more 
time tlian money to spend on their belong- 
ings. 

We are sure that our patrons will consider 
themselves fully compensated for the time 
devoted to a perusal of the book, and that 
they will accept it as a convincing explanation 
of what artistic needle-work really is. 



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NeeDLe-CRflFT. 



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CHAPTER II. 



MATERIALS P0R ARTISTIG nEEDLE-(158RK. 



'To gild refined gold, to paint the lily, 
To throw a perfume on the violet, 
To smooth the ice, or add another hue 
Unto the rainbow, or with taper-light 
To seek the beauteous eye of heaven to garnish. 
Is wasteful and ridiculous excess." 




^,^^^~A^J:'^^\'ii\]S wrote the bard 
^(> f y^^ \ of Avon, and how 

truly ! He, at least, 
understood the 
charm of perfection 
and in inimitable 
similes presented 
facts which are, 
alas, in principle still unheeded by wordy 
desecrators of much that is perfect both in 
ideal and reality. The charm of a golden 
sunset, to a real admirer, is not complete 
without silence. A voice dispels it, even 
though that voice be as sweet as the silvery 
note of a forest-bird — a charm in itself, but 
inharmonious with that entrancing the vision. 
So in Art. Although we are obliged to 
dally with the practical to reach the ideal, no 
words can add to the enchantments of artistic 
productions. They surround the worker with 
an influence that is like a dream, and in it 
he lives, with Genius for his master and Si- 
lence for his companion. 



Although ranking below ihe scale of high 
Art, the subject under discussion is one which 
justly receives much attention, and regarding 
which many inquiries have been made. Aided 
by our personal knowledge and all the in- 
formation obtainable, we ha\e gathered to- 
gether such facts in regard to materials and 
stitches, with illustrations of designs, as will 
enable our readers to indulge, to the fullest 
extent of their fancy, in '" artistic needle- 
work" of every description. Its fascinations 
we shall not attempt to describe ; the worker 
will discover them herself, once her design is 
before her and her needle threaded to begin. 

Foundation Fabrics. 

In commerce the word " canvas " embraces 
certain varieties of fabric, each with the same 
predominating characteristic of permitting 
regular cross or single stitches to be made 
upon it in every direction. One which is ex- 
tremely desirable on account of its texture 
and width, is 

Plain Worsted Canvas. 
This canvas is woven of thick wool threads 
in the ordinary manner, two threads of warp 
and tw-o of woof forming each square required 
for a cross stitch. It is generally worked in 
silk, crewel ox filoselle, and is used for all the 
ordinary canvas work, and sometimes for fur- 



i6 



NeeDLe-CF^flFT. 



niture or piano spreads. It comes in all 

shades of red, blue, buff, etc., as well as in 

black, and occasionally in white. Its widths, 

like nearly every variety of canvas, are half a- 

yard, three-quarters, one yard, and a yard and 

a-haif. 

Silk Canvas. 

This canvas is always used for fine work, 
which is for inspection rather than for service. 
It is generally embroidered in floss and beads 
or in either alone, and is used for glove and 
kerchief bo.ves, cases for spectacles, covers 
for fancy toilette cushions and bo.xes, and 
especially for bracket-lambrequins. It comes 
in black, white and various tints, and requires 
no "filling in" after the design is worked, 
being a sufficiently handsome fabric in itself. 

Java Canvas. 

This variety comes in cotton and linen, and 
includes the worsted canvas before mentioned. 
As the threads are finer, two are woven to- 
gether so that f«ur of the warp and four of 
the woof make the square or block marking 
out the stitch. It comes in all the desirable 
shades, colors and widths, and is used for 
tidies, mats, sofa-pillows, slippers, covers for 
stools, bags for brushes, shoes, etc. 

Panama Canvas. 
This fabric is straw-colored and straw-like 
in te.xture, and forms beautiful fancy articles 
for the table, such as baskets, mats, card- 
cases, etc. It is generally worked in crewel, 
split zephyr or silk. 

Honey-Comb Canvas. 

This is a cotton canvas familiar to almost 
every one, from the resemblance its surface 
bears to honey-comb, e.xcept that the mesh is 
square instead of hexagonal. It is worked on 
the surface with long stitches of single 
worsted run under the threads forming the 
squares or meshes. The worsted run in for 
the border is cut off or looped at some dis- 



tance from the edge, to form a fringe. It is 
used principally for toilette-sets for bureaus 
and wash-stands. 

Railroad or Net Canvas. 

This is a stiff linen and cotton fabric in 
black or white, and woven in a large, open 
mesh. It requires double worsted to work 
with, and may be filled in for a background or 
lined. Cross and star stitches are principally 
used for it, but it may be worked in the same 
way as honey-comb canvas. It is often used 
for tidies and sof.i-pillows. 

Mummy Canvas. 

This is a variety presenting the same sur- 
face as regular mummy cloth, except that it is 
woven in close, irregular-looking meshes. 
Even for experts, counting threads will be 
necessary for regular work on this canvas, 
and therefore it is not advisable for beginners. 
It is handsome, however, and will require no 
grounding or filling-in. The color is the 
natural linen tint, and tlie fabric may be 
worked with crewel, silk or zephyr. It is 
used for chair backs and seats, fancy camp- 
stools, cushion-covers, sofa-pillows and any 
article requiring a strong foundation. 

Ida Canvas. 

This is a new, unbleached linen canvas, 
which is woven in loose meshes that look as if 
they had once been embroidered and then 
had the work picked out again. It is just the 
thing for beginners, and is also preferred to 
the Java for some purposes. It is worked 
with single zephyr and silk floss. 

Congress Canvas. 

For delicate tidies, covers, etc., to be done 
in fine crewel, floss or Ji/ose/le, this canvas is 
especially liked, .\lthough it is really very 
strong, being made of hard, twisted linen 
threads, it looks like coarse or heavy tarlatan, 
without the stiffness of and with the trans- 



IISeDLG-CI^ilFr. 



17 



parency iiaLiiral to the latter fabric. It is 
ornamented in stripes as follows : The length 
required is cut, and a satin ribbon, about No. 
12, is basted through the middle, and one of 
another color at each side, so as to leave four 
spaces of canvas. The ribbon is fastened 
down at each edge, and at the center if 
desired, with fancy stitches in gay flosses. A 
floral pattern is then stamped between the 
ribbons, and is embroidered in one of the 
South Kensington stitches in natural colors 
with silk floss or filoselle. Tassels and the 
fringed ends of the ribbon finish the ends, and 
the sides are hemmed in a fancy stitch with 
bright flosses. It comes in white, black and 
all the fancy tints, and is very dainty. 

Fancy Canvases. 

Ida canvas, having its surface blocked off 
in two-and-a-half-inch diamond squares by a 
Grecian pattern that is woven in, constitutes 
a pretty background for several varieties of 
decoration. The squares are decorated in 
any fancy design in cross or back stitch, or 
with appliqueed classics, the Grecian efifect 
being left either undecorated or otherwise, 
as the taste directs. This canvas is suitable 
for tidies, toilette sets, cushion-covers, chair- 
backs, etc., and is seen in unbleached and 
cream-white. 

Another fancy canvas is of worsted, and its 
squares are one inch and a-half in size, and 
are separated or marked out by inch-wide 
weavings in honey-comb pattern. The 
squares are worked in either cross-stitch or 
back-stitch, and in any colors harmonious 
with the color of the canvas. For cushions 
and spreads it is very handsome. 

Cloth Fabrics. 

Upon regular fabrics all embroidery designs 
have to be stamped, and are generally 
worked in over-and-over or back stitch with 
crewel or silk, or with both combined. There 



are several varieties, such as broadcloth, 
mummy cloth, felt, and French flannel ; which 
latter is only an " artistic " rendering of the 
old-fashioned Canton or cotton flannel. 
Stand, table and piano covers, lambrequins, 
upholstery and wall-hangings are all made 
from these materials, which are soft in text- 
ure, rich in falling folds and eminently suit- 
able for any purpose for which thev are 
chosen. All the olives, old gold, aesthetic 
reds and antique blues and pinks are fashion- 
able in embroidery materials for such fabrics. 

Rug Materials. 

Sackcloth — better known as coffee-bagging 
— burlaps and a thick, coarse, unbleached 
canvas are generally selected for rugs. Ber- 
lin or Germantown wools and double zephyr 
are the embroidering materials. The border- 
ing may be purchased and then embroidered 
along its heading and sewed on, or one may 
be crochetted along the edge. Cross and star 
stitches are frequently used for rugs. 

Miscellaneous Fabrics. 

Scrim, a strainer-like fabric for curtains ; 
crash, which is made into chair-backs, cush- 
ions, rugs, spreads and towels, with crewel 
work for the decoration ; heavy linen and Bol- 
ton sheeting, and also any linen not having a 
glazed finish, are worked with crewels and 
silks. Then there are sail-cloth and fancy 
bed-ticking, Turkish towelling and cricketing 
flannel, all of which find a place on the list of 
fabrics for artistic needle-work, and are used 
for any purpose seeming appropriate. 

Fine Fabrics. 

The silk and velvet and plush textures used 
for decorative work are especially beautiful. 
Embroidery or floss silk, filoselle, chenille, 
beads, gold and silver threads and fancy 
metal ornaments are adapted to their embel- 
lishment. 



i8 



iieeDLe-d^AFT. 



Implements and Working Materials. 

The proper kind of needle is one of the first 
considerations upon the list of 

Implements. 

Whether intended for silk or worsted, it 
should have an eye sufficiently large to allow 
the strand to pass through easily and without 
fraying, and yet not so large as to crowd the 
threads of the fabric. For all canvas em 
broidery, choose a needle with a blunt or 
rounded point ; but for embroidery upon close 
fabrics, a sharp-pointed needle must be used. 
A silver thimble, worn nearly smooth, or a 
plain ivorv one, is considered best for em- 
broidery. In embroidery upon satin or silk, 
two thimbles are used, one upon each hand. 

In large pieces of work, and in some small 
ones also, it will be found necessary to use a 
frame. A frame like that of a slate, made of 
the desired size, is nice. Two hoops are often 
used, one large enough to slip on over the 
other after the latter is covered with the 
fabric. 

The scissors should be small, very sharp 
and finely pointed. For cutting skeins of silk 
or wool into proper lengths, round-pointed 
shears are best. 

In some of the finer designs it will be nec- 
essary to pierce small holes, and for this a 
bodkin is needed. 

Just at present there is no material so pop- 
ular among wools as the kind called 

Crewel. 

Away back in our childiiood crewel was 
simply penny skeins of what we now call sin- 
gle zephyr, and though it worked softly and 
shaded beautifully, it is not so well adapted 
to artistic work as English crewel, which looks 
like coarse but even Shetland wool. It is 
composed of two closely-twisted strands of a 
soft and glossy, yet slightly wiry wool. This 
luster acts as an agent in shading, so that a 



leaf or petal done fiatly and in but one tint 
changes its shadows or shades with every 
rellection of the light. This quality is consid- 
ered one of its chief charms. It works in as 
easily and as prettily as silk, and is always 
used for satin stitch or a long back stitch. It 
comes in all tints of every shade, and is sold 
by the skein in small quantities and by weight 
in the larger ones. 

Zephyr. 
There are three kinds of this familiar wool 
— double, single and split, containing respec- 
tively eight, four and two threads. The 
double and single are very slightly twisted 
together, so that the strands can be divided 
for embroidery. The two strands of split 
zephyr are twisted as closely as crewel, and 
this wool is used principally for crochetting. 

Germantown and Berlin Wools. 

There is very little difference between these 
two varieties, each consisting of four strands 
of wiry wool twisted together a little more 
firmly than zephyr, but having more of the 
crewel finish. They are used principally for 
embroidering burlaps and canvas rugs, and 
for knitting spreads, house-sacks and shawls. 

Shetland floss, which resembles these wools 
but is softer than either, and Shetland wool, 
with which every one is familiar, may also be 
included under this head, as both are used for 
knitting shawls. 

Saxony Yarn. 

There are two kinds of this yarn, the " two- 
thread " and the "' three-thread," each twisted 
very closely. It comes in all shades, and 
while it is sometimes used for cross-stitch on 
canvas tidies, etc., it is principally used for 
crochetting lace, shawls, sacks, etc. 
Fancy Wools. 

Pompadour wool comes in all shades and is 
like split zephyr very loosely over-wound with 
fine-strand filoselle silk or floss. 



NeeDLe-cj^AFT. 



19 



A pretty novelty is " frosted " wool, which 
is extremely handsome, and conies not only 
in all the delicate tints but also in the cache- 
mire or metal effect. The latter, of which we 
have a sample before us, consists of three 
very fine strands of black wool, each wound 
\\ith a minute crimped wire of metal, two of 
the wires being gilt and one copper color. 
The effect is that of a string of very fine rain- 
bow beads. The pale tints of blue, rose, 
cream, etc., are wound with silver tinsel, and 
the yellows with gilt. Care must be exer- 
cised in working it, as it will not pass through 
any but large-meshed canvas. It can be laid 
on the surface with the same effect as satin 
stitch, and fastened down with silk stitches. 

Silk Materials. 

Saddler's silk, embroidery silk, which com- 
prises several kinds, floss and filoselle are 
the varieties in use. The first is used a great 
deal on flannels and for chain-stitch embroi- 
dery. The second is used for the main portion 
of any design and may be intermingled with 
floss to soften the edges of leaves and petals. 
Filoselle ys a coarse, untwisted silk, composed 
of several strands of very slightly twisted 
threads. It is sometimes used in place of 
embroidery silk, especially in designs where 
large blossoms predominate. It shades pret- 
tily and makes a satiny surface that is very 
handsome. It comes in skeins like the other 
varieties. 

Tinsel Threads. 

Metallic threads and cords in gold, silver, 
copper and various tinsel effects are much 
used in artistic needle-work. They are some- 
times employed separately, but more fre- 
quently they are associated with silk, chenille 
and crewel. 



Chenille and Arasene. 
These two materials are quite similar in 
effect, chenille being however round, while 
arasene is flat in strand. Both are employed 
for elegant embroidery, though work done 
with them is less durable than that developed 
with silk and crewels. 

Embroidery Cotton. 

Not only in white and the well-known Tur- 
key-red, but also in pale blue and pink and in 
seal, black and navy, is good working cotton 
obtainable. 

Crochet Thread. 

For crochetting many varieties of worsted 
are used, and in addition there are cotton and 
linen threads in white and fast colors which 
make beautiful laces. 

Linen Embroidery Thread. 

The high cost of elaborate silk embroidery 
has led to the production pf linen embroidery 
thread which possesses the gloss of silt:, 
insures durability and permits of frequent 
laundering without danger of fading or fray- 
ing. Some of it is in very fine strands, suita- 
ble for the elaboration of fine napery, etc., 
while other brands are woven in the thick 
strands adapted to the development of strong 
bold designs. 

Purlette Work. 

Purlette is a novel and beautiful decorative 
material, which may be applied with most 
effective results upon any smooth surface. It 
is a fine cord, and is applied with button-hole 
stitches separated by regular spaces. It may 
be associated with any variety of Kensington 
stitch, and is one of the most beautifying vari- 
eties of ornamentation for table linen, cushion 
covers, etc. It is illustrated in another chap- 
ter. 



^- 






B 

E 

L 

D 

I 

N 

G 

B 
R 
O 

S 

• 

& 

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o 



"An Article of Permanency mnst have Merit for its Foandation." 



-§: 



:e:s'I'.a.ziXiXSXx:e:i3 X863. 



:^ 



THE LARGEST MANUFACTCRERS IN TUE WORLD OF 

Macfiiite MVtst, 



•^J»t^>^?<^*C^- 



AHEAD OF ALL OTHERS. 

REPUTATION ESTABLISHED BEYOND A DOUBT. 



BELDINC'S WASH SILKS are the best made. Phoe- 
nician Dyes and Fast Colors. 

"WASH ETCHING" or Fine Outline Embroidery for 

Classes of Work. 

"WASH TWIST" Embroidery for Heavier Work. 

"OUTLINE OR FILLING FLOSS," wMch may be 
split to any fineness for delicate work on Bolting 
Cloth, Gauze, Silk, etc. 

"POPE SILK." For raised work on Plushes, Chamois, 
etc., where elaborate effects are desired. 

These Goods are Unexcelled for LUSTIiE, PERMAKENT 
COLOR and REGULARITY. 



B 
E 

I 

N 
G 

B 
R 
O 
S 

• 

& 

C 
O 



BELDING'S SUl^ERIOR KNITTING SILK." 

DO NOT BE DECEIVED. THE BEST IS THE CHEAPEST. 

Don't allow vour shopkeeper to impose upon you by selbng yo>i some other Silk, 
represeniing that it is "just as good as BELDIXG'S." 

Every spool of EELDING BROS. & CO.'S 'Superior" Knittinp Silk has a blue 
label priuted on the end of (he spool, of which the illu-traiion here given is afac simile, and 
each spool of the silk is warranted by them as made of pure thread silk, identical with that 
used by them in the manufacture of tljeir well-known Machine- Twist and .Sewing-Silk, 
which have the highest reputation and have always been awarded PRIZE MEDALS for 
superiority, over all competitors, wherever exhibited. 

BELDING BRO'S & CO., 




-3VEXXjXjS :- 



ROCKVILLE, CONN. 
NORTHAMPTON, MASS. 
MONTREAL, CANADA. 
SAN FRANCISCO, CAL. 



LOXJisma: 



CHICAGO, BOSTON. 

ST. PAUL, PHILADELPHIA. 

CINCINNATI. SAN FRANCISCO. 

MONTREAL, CANADA. 



iieeDLe-cp^AFT, 



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_Jj I 



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K- 



1-^ 



r T T T T T 



CHAPTER III. 



S0DTH-KENS1MCT-0N NEEDLE-W0RK STITCHES. 




South-Kensington Stitches. 

T South-Kensington, some la- 
dies of the nobility have es- 
tablished an art school, in 
which all styles of needle- 
work, antique and modern, 
are taught. One or two of 
these stitches have taken 
quite a hold upon the af 
fections of the embroi- 
dery-loving woman, and for 
the want of a better name each, is called 
" South-Kensington stitch." It will thus be 
seen that the article "a" is the appropriate 
one to use, and not "the," since there is more 
than one stitch belonging to the South-Ken- 
sington school. The stitch, however, which 
has gone abroad in printer's ink as the Souih- 
Kensington, is designated by this name in this 
chapter. 

South-Kensington Stitch. 
Figure No. i. — It will be seen by referring 
to the engraving that it is nothing more than 
a back stitch, the stitches being made to fit in 
between one another with no special regularity 
except to produce perfect shading. The out- 
line of the design is stamped, and must be 
perfectly even when worked ; but the interior 
of the petal or leaf is to be filled in according 



to the shape, and shaded to the taste, or the 
pattern — if there be one to copy. English 
crewel is the usual working worsted for this 
stitch. 

South-Kensington Outline Stitch. 

Figure No. 2. — Another stitch, known in the 
school mentioned above as the " stem-stitch," 
is here called the South-Kensington outline- 
stitch. It cannot be clearly explained in 
words, but may be comprehended at once by 
an inspection of the engraving. It forms an 
unbroken outline, which appears like a finely- 
twisted silk cord. It is very effective on satin, 
and is used for such designs as statuary with 
flowing draperies, Cupids, game, etc., looking 
when finished like a fine pen-and-ink drawing. 
One panel, done on old-gold satin with dark 
olive embroidery silk, is exquisite. There is 
no filling-in or shading — it is simply the out- 
line that is followed, and also the strokes 
which would be made with a pen to represent 
drapery, or any of the other details of an 
unshaded sketch. It is very effective in 
foliage, butterflies, animals, etc., and may be 
made upon almost any article of fanc}-work, 
as well as used for marking linen. 
Cross Stitch. 

Figure No. 3. — This is the first to be 
learned in doing canvas-work. It is made by 



NeeULe-CF^ftFT. 



a back-slitch movement, with the needle 
always pointing toward the left, as will be 
observed in the illustration, except sometimes 
in changihg the direction of the design. Of 
Java or ordinary canvas two threads each way 
is the limit for the stitch, one-half of which 
crosses diagonally from left to right, and the 
other half in jiist the opposite direction. 
Each stitch is completed before the next is 
commenced, although in some instances a line 
of half-stitches may be made from left to 
right, and the other halves finished in the 
opposite direction. 

Star Stitch. 
Figure No. 4. — There are four varieties 
of this stitch, which is seldom used to deline- 
ate a design, unless upon coarse net or rail- 
road canvas, for which the ordinary cross- 
stitch is not heavy enough. The illustrations 
delineate it very plainly, making it unneces- 
sary to give a special description of it. 

Borders in Ordinary Button-hole Stitch. 
Figures Nos. 5, 6, 7 and 8. — These four 
samples show as many different methods of 
setting button-hole stitches along the edge of 
flannel, canvas, linen or whatever fabric or 
article requires a border of this style. The 
effects are produced by changing the direc- 
tion of the needle when making the stitches. 
Silk floss, crewel, zephyr or any of the Sa.x- 
onv or Germnn wools may be used for the 
purpose. In doing fancy-work or bordering 
any useful article that needs to be gay, shaded 
silk will be very effective in the leaf style 
illustrated. 

Herring-bone Stitch. 

Figure Xo. q. — Tliis is a stitch used for 
joining the seams of flannel in a flat man- 
ner, instead of by the usual way. thus doing 
away with the ridge a fell makes. Being or- 
namental as well as useful, it is .tIso used for 
decorative purposes, and is seen upon tidies, 



towels, and bands of applied ribbons or fab- 
rics. While the work is done from left to 
right, the needle is set in the usual way in a 
sort of back-stitch, as will be seen by refer- 
ring to the engraving. 

Janina Stitch. 
Figure No. 10. — This stitch has recently 
appeared, and is worked wholly on the sur- 
face, except where the short back-stitch oc- 
curs along the outline, in making the stitches. 
A back-stitch is taken at each side, inserting 
the point at the next to the last thread and 
pushing it through to the outside again below 
the last thread. An examination of the ))ict- 
ure will make this clear to the reader, as the 
needle is set for one of the back-stitches 
described. The embroidery is suitable for 
toilette articles, small niats, and stand or 
table covers, and, in fact, for any purpose for 
which satin or any other surface stitch is 
used. Silk floss or English crewel is used in 
this embroidery. 

Embossed Button-hole or Tongue Stitch. 
Figure No. ii. — This style of stitch is 
much used in making borders on canvas or 
other materials when fringe is to be the com- 
pletion for the edge, and also in embroider- 
ins: monograms and initials. Two rows of 
running stitches are made wherever the border 
is to be located, and over them the button- 
hole stitch is made. The engraving fully ex- 
plains the method of formation and further 
suggests the peculiar adaptability of the stitch 
to the purposes mentioned. 

Satin Stitch. 
Figure No. 12. — Although from time to 
time designs in this stitch have appeared in 
the Dcliticator, special instructions have 
not always accompanied them regarding the 
manner of making, as it is an old and famil- 
iar stitch. It is done in all sorts of flosses, 
embroidery silks, zephyrs and crewels, and 



NeeDLe-ci^AFr. 



23 




Figure No. 1. — hourH-IvL.Noi.NuiuA ,, ., „ 

I-iuuKE No. -;. — Cross 
Stitch. ^ •^ 

Stitch. 



P'iGURE No. 2. — South-Kensington 
Outline Stitch. 




FllUKE No. 4. — 
Star Stitch. 



iM' l^^'SM- ' t'lGUKE No. 9. — 

^^&^%^^K Herring-Bone 

Figures Nos. 5, 6, 7 and 8. — Borders in ordinary Button- Hole Stitch. 

Stitch. 




:lil!llllllllll»«H'll 




'llllllllllMlil:! 
I'lcruK No. II. — I';mi;ii^>i i 
Button-Hole or Tongue 
/il.illillllll • Stitch, 



Figure No. 12.— Satin Stitch. 



Figure No. 10. — Janina Stitch. 



24 



NeeDLe-c^AFf. 




Figure No. 13. — Covered 
Knot-Stitch. 




FlGLKK No. M- — I'hKSlA.N' 

Cross-Stitch. 







FiGURL No. 1 5.— T.^PESTRV STITCH. 




Figure No. ib. — Wound 
Knot-Stitch. 




Figure No. 17. — Ikisii Stitch. 




Figure No. iS. — Tent Siiich. 




P'iGURE No. ly. — Urna.mkmal Stitches for 
Flannel or Canvas. 




FlC.UKE No. JO. — MhM SlUi,ll. 







Figure Nh. 21. — Wounu Figure No. 22. — Plain Figure No. 23. — Twisted Figure No. 24. — Vine 
Stucii. Ciiain-Siitch. Ciiain-Siitcii. Chain-Stitch. 



NeeDLe-d^AFT. 



25 



upon silk, satin, velvet, cloth and canvas. 
Tlie pattern must be stamped and then "run" 
along all the lines with silk or worsted, and 
each leaf and petal, if of good size, must be 
crossed and recrossed with the same, all before 
the real embroidery begins. There must be no 
break in the edge of a leaf or petal, and con- 
sequently each must be carefully and evenly 
set. In leaves, such as the one shown in the 
illustration, the center is defined by the meet- 
ing of the stitches, which must be exactly 
even. Satin stitch is simply an over-and-over 
stitch, and generally both sides of the work 
look almost equally well. 

Covered Knot-Stitch. 

Figure No. 13. — Knot-stitches are much 
used in embroidering upon linen and cambric, 
and are usually done in linen and Moravian 
flosses. The engraving of Figure No. 13 repre- 
sents one style of knot-stitch made by taking 
an ordinary back-stitch, winding the floss 
twice about the needle and then drawing the 
latter through, with the left thumb held 
closely over the coil. The needle point is 
then thrust to the other side almost exactly 
where it came to the surface, so as to locate 
another knot. This stitch is frequently 
adopted in making initials, handkerchief-cor- 
ners or any fine embroidery of that kind. 

Persian Cross-Stitch. 

Figure No. 14. — It is said that in the ir- 
regularity of this stitch, and the Oriental colors 
selected for it, consists its beauty when it cov- 
ers a design. By varying the length of the 
stitch, almost any design can be copied. The 
silk or worsted is carried across two threads 
of the ground for the first half of the stitch, 
and is then brought up between the two 
threads, and the cross is made over the upper 
half of the long stitch. The illustration will 
clearly explain the method and effect. 



Tapestry Stitch. 

Figure No. 15. — It is in this stitch that 
the old hangings and pictures, now so valued 
from their antiquity, were made. Although 
very simple, only those having some knowl- 
edge of the art of painting should attempt 
anything in this stitch, as the shading must 
depend upon the eye and not upon a counting 
of the stitches. Many of the old designs 
were painted upon the foundation canvas, 
which was of great assistance to the worker ; 
and we presume that some of the decorative 
art societies who are making a revival of 
Gobelin tapestry a specialty, will be able to 
furnish the same style of design. An artist 
in tapestry work can copy accurately from an 
oil-painted picture, with only the eye directing 
the coloring and shading. As we have before 
mentioned, four threads of canvas — two each 
way — mark out the space for one ordinary 
cross-stitch, and in this space two tapestry 
stitches are made. They are worked from 
left to right, crossing four threads in height 
and one in width with a back-stitch movement, 
bringing the needle out toward the worker at 
the bottom of the line upon which she is work- 
ing. The picture illustrates clearly the effect 
and the method of making tapestry stitch. 



Wound Knot-Stitch. 

Figure No. 16. — This is used for the 
same purposes as the covered knot-stitch de- 
scribed, and is made as follows : The needle 
is set, wound and drawn through, the same as 
in the first stitch, and is then thrust through 
the outside at the place indicated by the dot 
above the needle. This draws the wound 
thread into the knot illustrated, which is just 
as pretty as its predecessor. This style of 
stitch appears universally in all fine French 
embroidery. 



26 



NeeDLe-cF^AFT. 



Irish Stitch. 
Figure No. 17. — Tiiis is a "filling in'' or 
" grounding " stitch, and is made with alter- 
nate long and short back-stitches, the short 
stitches of one row commencing at the ends 
of the long ones on the row above. It is gen- 
erally done with zephyr, which is not too 
thick, as every perpendicular thread of the 
canvas is not overworked — only the spaces be- 
tween. The engraving gives the idea of the 
effect and the manner of working. The Ger- 
man Stitch is done in precisely the same way 
as the Irish, e.\cept that the stitch crosses the 
canvas diagonally. By exercising a little judg- 
ment and ingenuity, it will be seen that the 
worsted need only cover the surface. In doing 
it in the regular way, the under side, as well 
as the upper, is covered with the zephyr, a 
method which many condemn. 

Tent Stitch. 

Figure No. 18. — This is simply a short 
stitch made over a single crossing of the can- 
vas threads and all slanting from right to 
left, four tent stitches occupying the space 
of an ordinary cross-stitch. It produces a 
very fine grounding, and must be carefully 
and evenly done. The movement is the 
same as m the tapestry stitch, as will be seen 
bv referring to the engraving, which illustrates 
'■ tent ■' stitch perfectly. 

Ornamental Stitches for Flannel or Canvas. 

Figure No. 19. — Although this stitch is 
illustrated upon canvas, where it is sometimes 
used in a decorative manner, it is especially 
adapted to flannels which require a neat finish 
and will not permit of an elaborate one. It 
can be done in white silk or floss, or in colored 
worsteds, as preferred, and is very pretty 
above a hem. 

Stem Stitch. 

Figure No. 20. — This engraving shows a 
style of stitch largely used in making over- 



wrought vines. The design is first run with 
floss, and then the work is done with a regular 
over-and-over stitch, which is clearly explained 
by the engraving. It is suitable for either 
white or colored embroidery, and is useful in 
vine patterns. 

Wound Stitch. 
Figure No. 21. — This is a pretty stitch for 
embroidering grain, small leaves, or flowers 
having small petals. The accompanying de- 
sign shows the method by which the cord is 
formed. After the needle is wound, the 
thumb of the left hand is held firmly over it 
until the needle is pulled through and the coi! 
is firmly drawn in place. Two stitches only 
are necessary to form each kernel. The tiny 
stitches seen at the ends of the kernels may 
be lengthened to represent the barbs on real 
grain, if desired. Linen or silk floss may be 
used in this style of embroidery. 

Plain Chain-Stitch. 
Figure No. 22. — The engraving represents 
the old-fashioned, plain chain-stitch, which is 
still used for many purposes, such as fasten- 
ing the edges of applique work, embroidering 
slippers, mats, stand-covers, etc. Each stitch 
is made in the same way as the one for which 
the needle is set. The engraving explains the 
method better than any description can. 

Twisted Chain-Stitch. 

Figure No. 23. — This stitch is made on 
the same principle as the plain stitch, except 
that the needle, instead of being set back into 
the preceding stitch, is set at the left side of 
it. The engraving does not do full justice to 
the beauty of the stitch, as will be seen by 
making a few stitches for a trial with single 
zephyr. It is used along edges as headings to 
fringe, and sometimes to outline a design in 
Grecian or scroll work. Hems and tucks in 
flannel skirts may be stitched in this way in 
preference to machine or plain hand-sewing. 




Figure No. 25.— Fancy Stitches and Purlette Work, 



27 



28 



NeeDLe-CRAFT. 



Vine Chain-stitch. 

Figure No. 24. — This stitch is often used 
upon hems, as are both the other styles, and 
sometimes above bindings of ribbon. It is 
often used to complete plain blankets, flannel 
petticoats, little undershirts or any article for 
which it seems a suitable finish. The stitches 
are made to the right and left alternately, and 
are longer and more open than the other vari- 
eties. 

Fancy Stitches and Purlettc Work. 

Figure No. 25. — The fancy stitches repre- 
sented in this design are developed by artisti- 
cally varying and combining many of those 
illustrated and described on preceding pages. 
The e.xact method of their development is 
clearly pictured by the engraving, which 
also includes a very effective exposition of the 
work called " purlette." This is shown along 



the edges of the appliqu^ed plush sections 
upon the right of the engraving and in the 
scroll between these darker portions. It is 
done with a cord which is sold e.xpressly for 
the purpose, and is applied with silk, Bargar- 
ran cotton, embroidery, flax, chenille or any 
variety of working material that can be carried 
with a needle. The stitch employed is a 
button-hole stitch made at rather long inter- 
vals. The process is clearly revealed in the 
engraving, and the work is effective on napery, 
sofa cushions, toilet towels and all articles 
which are commonly beautilkd by needle- 
work. A little ingenuity will enable any lady 
to develop this design into a size adapted to 
articles as large as a sofa cushion, and to sep- 
arate it into sections suited to doilies or nap- 
kins. The fancy stitches may be worked 
inside any embroidery design done in outline 
stitch, with very pleasing results. 



^^- 






-H^ 



-^-t-^- 



NGeDLe-CHflFT. 



29 



^ 



■^- ^•^ »» <» <» ♦» 4:' ff i 



p -,•/ 



CHAPTER IV. 



ErnbrGidered DqUy, and Enibretder^ Designs for Set of Doilies. 



<l 






HE housewife who can embroider carelessness will result in making the doily 
and do drawn-work finds much to a complete failure, 
be thankful for. The pretty doilies 



^•^7;- for tea-trays and cloths upon her 




table are evidences 
* of her abilit}-, while 
'r the dressing-tables 

and stand covers 
1^ in the bedrooms 

also bear traces of 
her handiwork. The 
outline stitch is the 
one most favored 
for this work, and 
it is suggested that 
unless the worker is 
quite skilful it will be best to 
confine herself to one color in 
the material she selects to 
work with, as there is then no 




Embroidered Doily. 

Figure No. i. — A doily in 
miniature is here shown. It 
is embroidered in Kensing- 
ton or outline stitch on linen ; 
the border is formed of drawn- 
work carefully 
caught and the edges 
are fringed for a 
finish. The color 
used is a bright red 
and the work is very 
evenly done. Such 
doilies are in use for finger- 
bowls, plates and for all plat- 
ters upon which fruits or small 
biscuits are placed. 



possibility of the so-called real- p,^„^g ^o. i. -Embroidered Doily. Design in Embroidery for Doily, 

istic errors being made. Scar- Figure No. 2.— For the 

let is always a reliable shade, dark blue is blossoms upon this .doily a bright crimson 

almost as certain, and the browns and bronzes would seem appropriate, and if chosen will, 

are to be commended. In doing the drawn- of course, also form the conventional design. 

work much care should be taken that the For eichings, the blossoms alone will be very 

threads are not pulled unevenly, as a little pretty. 



NeeDLe-ci^AFT. 



33 



Design in Embroidery for Doily. 

Figure No. 3. — This engraving, as well as 
the others in this department, shows the 
exact size the doily is to be to the first 
thread drawn in the border, the style of 
which is shown in the miniature doily. It 
may be made as much wider beyond this line 
as is desired, but the center portion should be 
no larger than shown. This design of carna- 
tions and blossoms is pretty done in crimson. 

Design in Embroidery for Doily. 

Figure No. 4. — This design is wrought 
out in dark blue, the principle probably being 
that in Nature grasses and leaves are so 
seldom blue that art should create them. If 
preferred, the entire set of doilies may be 
embroidered in the same colors, but sugges- 
tions of different shades are given, in order 
that individual preference may have sway. 



Design in Embroidery for Doily. 

Figure No. 5. — -A dull shade of orange is 
used to evolve this rather Japanese-like 
design, which is, by-the-bye, one of the quaint- 
est in the entire set. If preferred, brown 
may be substituted for the orange. 

Design in Embroidery for Doily. 

Figure No. 6. — The design here pictured 
may, like that showing carnations, be done 
in many shades of red. Dark green or 
blue crewel may also be effectively used for 
this design. 

Design in Embroidery for Doily. 

Figure No. 7. — Brown is the color of the 
needlework on this doily, a brown, however, 
with just a suggestion of gold about it and 
without the sombreness usually associated 
with the brown shades. 



«• 



t- 



«• 



34 



NSeDLe-CI^ilFT. 





rHU J*^ r*t )♦' 


.*< )*" ^*t 5*" 


* 


t 

\ 




llllllilllliillllllllllllllilll 


ill II II III II III II ill II III II II II 




r^y*^ r^r>f^ 


r*!.y*' ,+t )*" 



^ Pretty Paiicy. 

This is how it was developed. A short 
piece of white sash-ribbon, having brocaded 
upon it a design of roses and their foliage, 
was left over from a sash. It was utilized by 
an ingenious young woman for the decorative 
portion of a chair cushion as follows : 

The foliage she outlined in various shades 
of green representing the gamut of tints 
seen in the natural leaves, and some of them 
she rendered heavier in efifect by working in 
considerable side-stitching, regulating its dis- 
posal to accord with the amount of shade that 
would fall upon leaves turned as they were. 
The roses were outlined with rose color and 
slightly shaded with side-stitching, and the 
plain portion of the ribbon was made the 
background for a lattice of gold thread, upon 
which the roses were apparently trained. It 
was then arranged diagonally across the cor- 
ner of a rather flat cushion covered with elec- 
tric-blue satin, and tied upon the back of a 
gilded chair, which illuminated as well as 
furnished a corner where a heavier and darker 
piece of furniture would have appeared 
sombre. 



NSeDLe-CI^AFT. 



35 















CHAPTER V 



TRAY-eeVER, AND EMBR01DERY DESIGNS F0R ITS G0RNERS. 




IGURE No. I. -This dain- 
ty tray-cover is made of 
white linen and is broadly 
hemmed at all its edges, 
the hems being generally 
hemstitched. A simple 
design is traced with nar- 
row braid on the hems, and inside the hems 



IT'^V 



square of the same fabric embroidered with 
white. These pieces are usually applied with 
hemstitching. In the corners, free from this 
border decoration, are embroidered designs, the 
correct sizes of which are given at Figures Nos. 
2, 3, 4 and 5. The designs are all sprays, one 
showing blackberries, another a pear, another 
grapes, and the other cherries, all with their nat- 




hioi kL Ao 



-1 k VV-Cu\ EK. 



are two rows of applied pieces of porcelain-blue ural foliage. They are worked in Kensington 
linen in small diamond shapes, the rows being outline stitch, the leaves and stems in greens 
separated at each corner by a larger applied and browns, and fruits in their natural colors. 



36 



NeeDLe-cF^iiFr. 



A frill of the white material is the edge finish may be chosen for the squares, old-blue, 
for the tray-cover and may be plainly hemmed, pink, terra-cotta, sage-green, vermilion, gold. 




Figure No. 2. 



Figure No. 3. 



or button-hole, feather or briar stitched at Nile-green, rose, crimson, etc., being de- 
the edge. Medici, torchon, antique or any sirable. The colors displayed in the china 




Figure No. 4. 




Figure No. 5. 



preferred lace may be used instead of the may be seen in the squares, with unique 
material for the frill, and any preferred color efifect. 



NeeDLs-ci^iiFr. 



37 



*^c-M -)K- 




CHAPTER VI. 



Qrnamenlal DgHy. and EmbroiderY Designs for a Set of Twelve. 

HE designs illustrating this from the edge, and the remaining threads 

chapter will be appreciated are caught by a stout linen thread of the 

very highly by ladies who take same color, in a hem-stitch design. A 

pride in the style of their table first glance at the representation of this part 

linen and toilet mats. It is of the work would no doubt impress the 

now fashionable to embroider observer with what would seem an impossible 

doilies or napkins in colored cot- arrangement at the corners ; but the effect 

ton, linen and wash-silks with floral designs, is the result of study to overcome a dif- 




fer use with fin- 
ger bowls or under 
dishes of fruit or 
cake, following as 
nearly as possible 
the natural colors 
of blossoms, fruits 
and leaves. 

Figure No. i on 
this page repre- 
sents a doily all 
finished, and de- 
signs adapted to 
the embellishment 
of twelve doilies 
are included in 
the chapter. Af- 



g'iffiaMflfMMitM^^^^^ _ 



Kggg»sr»:iT»>-»:^:*:»:» »:»:»:^a»-»v;t'^',tg 




ficulty experienced 
in washing doilies 
in which the 
threads have been 
fully drawn, and an 
open space left at 
each corner. The 
threads are clipped 
before being drawn, 
so that they will 
pull out only the 
length of the hem- 
stitched border at 
each side as il- 
lustrated. The 
threads that would 
pull out at the cor- 



ter a square of the desired size is cut, the ners if left unsecured are firmly overcast by a 
center is worked as shown by the engravings linen thread of the same color, or with their 
numbered 2, 3, 4, etc. A few threads are own ends, which may be drawn for the pur- 
then drawn from each side a short distance pose, from one corner to the other at the same 



38 



NeeDLe-cp^AFT. 



side before they are clipped at the opposite each corner is a floral design embroidered 
corner. In making napkins or doilies it in the same color. The napkins are orna- 
would be well to experiment on a piece of mented with drawn-work, and in the corner 
old material in the manner of drawing and of each a floral design is worked. Linen em- 
fastening the threads. broidery thread, which may be obtained in a 

White napery embroidered in gold silk is 
effective and beautiful, and many ladies will 
select from these engravings designs for the 




Figure No. 2. 



Figure No. 3. 



corners of table-cloths, tray-covers, tea-cloths, variety of colors, is also used for the em- 

etc. A set of luncheon napery which is bellishment of napery. In the performance 

worthy of admiration comprises a cloth and of work of this variety incongruous colors are 

twelve napkins. The cloth has the damask of course avoided, but the good effect does 

border along its edges, followed by chain not depend upon the choice of only those 

stitching done in gold-colored silk, and in tints which are seen in the natural flowers. 






j^elps for Faijcy ((lorkers. 

Appliqueed flowers and foliage, which may other ornamental objects adapted to a variety 

be easily attached to the surface that is to be of uses are also obtainable, and so are plaited 

decorated, are much valued by ladies who ribbons suitable for borderings and drop orna- 

cannot afford the time to embroider lambre- ments in silk and in lamb's-wool, which may 

quins, scarfs, etc., and yet like to exercise be made into beautiful fringes or used to 

their own taste in the selection of materials, finish the ends of cords. Personal ingenuity 

tints, and stvle of ornamentation. Birds and will suggest their especial purposes. 



NeeDLG-CF^AFT. 



39 




Figure No. 7. 



Figure No. 8. 



NeeDLG-CHAFT. 



41 




S" ^' u*.' i^ ~ "^ 



CHAPTER VII. 



eUTMNE EMBR01DERY DESIGNS. 




LL of the figure designs included wrought in short back-stitch or fine chain- 
n the present chapter, from stitch. Cotton or Hnen embroidery thread 
the little darky dandy and 



the charming maiden mak- 
ing hay, to the music-master 
of the birds and the mis- 
chievous school-boy, are suit- 
able for embellishing tidies, screens, fans, 
mats, cushions, and table and other house 
linen of all descriptions. The outlines 




Figure No. i. 




Figure No. 2. 

in fast colors, crewels and etching silks are 
suitable working materials. The darky faces 
are imitated with indelible ink, so that they 
will wash nicely ; but if a sable face be de- 
sired, it must be cut from a bit of black flan- 
nel or cloth and arranged as represented. 
The floral designs cover a still broader range 
in this application, and may be effectively re- 
Ken- produced in decorating table scarfs, lambre- 



are generally followed in the 

sington outline stitch, but may also be quins and other draperies 



42 



NeeDLe-ci^fiFT. 




Figure No. 3. 






FlGLRE No. 4. 



4?-'S^-T" 



Figure Xo. 




Figure No. 6. 




Figure No. 7. 



NeeDLe-cF^AFr. 



43 




Figure No. 12. 



1? 



4- 

-^rr-'i^ — j^ - » i f.'. Have you seen the Magazine entitled 



''i\upsr)eeclt s (ptandard Raspionable 'Specialties, 
Adapted to the "Metropolitan Fashions?" 






RSHEEDT's Standard Sashionable Specialties" show how 



the Manufactures of the Kursheedt Manufacturing Company nriay 

be u sed to advantage, in securing economy and style, in union with the 

Metropolitan Fashions appearing in the Periodicals of The Butterick 
Publishin g Co. [Limited] , 

The Publication also contains many timely and appropriate remarks on 
current fabrics and garnitures, with especial reference to the Kursheedt 
Manufactures, chief among which ar e 

Lace Floiineings and Nets, Embroideries, Braids and Braid Garnitures, 
Jet Decorations, Embroidered Flannels, Appliqiiees. Tuclungs , 

etc., etc. Copious illustrations of these Manufactures are to be found in the 
Maga zine, which consists of 20 pages (size 11 x 16 inches), with a handsome 
coverj and is issued four times a year. 

The Subscription Price of " KURSHEEDT'S STANDARD FASHIONABLE 
SPECIALTIES" is 



25 Cents Per Year, i }■ Ringle Copies, 7 Cents. 

Address : 

192 SOUTH riFTB AVSNUS, NSW 70RK. 



In ordering the above publication, which we heartily commend to our friends, please mention 
" Needle-Craft."— The Butterick Publishing Co. [Limited], 



NeeDLe-CF^AFt. 



45 



«- 



«• 



^m^i^ 






-:^- 



=SP" 



•:^- 



CHAPTER VIII. 



SPRAYS 0F PINKS IN G0RREGT SIZES P0R EMBRQ'IDERING. 




HE flower which forms the sub- 
ject of this design is one dear 
to the heart of the worker in dec- 
orative materials, because it is ef- 
fective upon all sorts of fabrics 
and does not require elaborate 
outlay to make it seem realistic. The designs 
ma)' be simply outlined as illustrated by Figure 
No. 2, or they may be done in South-Kensing- 
ton stitch as shown by Figures No. i and No. 
3. The leaves are in natural shades of 
green, and the flowers and buds of 
pink, red, white, or any of the tints in 
which the flowers appear. These designs may 
be appropriately used to decorate lambrequins, 
table scarfs, handkerchief-cases, etc.; and they 
may be painted or embroidered, as preferred. 
The sizes illustrated are in correct proportion 
for working and may be easily transferred. 

Transferring and Stamping. 

Any design for embroidering or painting 
illustrated in this book may be transferred to 
paper, and a perforated pattern made, which 
may be stamped upon material, ready for 
working. Parchment paper is the best upon 
which to trace the design, because it is trans- 
parent without being too thin to be perforated 
closely, and it does not tear easily. Lay the 



paper over the design to be transferred and 
with a lead pencil reproduce all its outlines. 
With a tracing wheel follow these outlmes 
upon the paper, using care in turning curves 
and corners to keep to the original outlines. 
The next step is to lay the perforated paper 
upon the material that is to be decorated, 
with the rough side up, and rub the per- 
forated lines lightly with any good stamp- 
ing powder, taking up enough of the pow- 
der upon a bit of chamois or flannel tied 
over a cork to leave a clear impression along 
the perforations. Now remove the stamping 
pattern, lay a piece of tissue paper over the 
goods, and pass a warm iron slowly over it. 
If these directions are carefully followed, the 
design will be accurately reproduced upon 
the material when the tissue paper is lifted. 

A blue powder is best for light materials, 
and upon smooth black goods a white powder 
may be successfully used, though if it is liable 
to become indistinct, it is wise to outline 
the principal points of the design after it 
is transferred to the material, with cotton. 

A liquid preparation which will not run and 
is indelible is essential for stamping long-pile 
plushes and velvets. An ingenious method 
which may be followed without difficulty, is as 
follows : After the design has been traced 



46 



NeeDLs-ci^flFr. 



upon parchment paper, lay the latter upon should be thin enough to go through the per- 
the material with the smooth side up and then forations readily, but not so thin as to spread 




Figure No. i.— Spray of Pinks in South-Ken- 
sington Stitch. 



with a rather stiflf brush, dipped in tube paint, upon the material, and it should be of a 
go over the perforations slowly. The paint lighter shade than the goods, in order to pro- 



NeeDLe-CRflFT. 



47 



duce a distinct impression. When it has paper used several times. If rather heavy 
dried, the pattern will be ready for working. paper be used for designs that are reproduced 




Figure No. 2.— Sprays op Pinks 

IN South-Kensington 

Outline-Stitch. 

The powder that adheres to the paper trac- with the aid of a liquid preparation or tube 
ing may be easily brushed out and the same paint, it may be cleansed for future use by 



48 



NeeDLG-CRilFT. 



the aid of a little naphtha or turpentine. In using a tracing wheel, great care should 

Pour either over the perforations and wipe be exercised in following circles or curves, 
them dry and evaporation will do the rest. because wherever perforations are made by 




the wheel, the powder or paint is verj' liable 
to sift through ; hence the necessity for follow- 
ing the pencilled lines accurately. 



Figure No. 3. — Sprays of Pinks 
IN South-Kensington Stitch. 



NeeDLG-d^AFr. 



49 



^- 




— ^ 



CHAPTER IX. 



BESICRS SH0(151NG ¥flR10yS EMBR010ERY STITCHES. 



J> 



Open-Work Embroidery. 




IGURE No. I. — This engraving is 
intended to illustrate the plan fol- 
lowed in making open embroidery, 

^■^"■^i etc., and the stitch employed. The 
design is first marked or stamped, 
and then run with floss. Each leaf 
or petal is then slashed with a sharp 
scissors, and the material drawn 
'i'* back to the running with an over- 

and-ovei- stitch done with coarse linen floss. 




Illillllllilllllliiail.::iiili«iiliiini«i»l 
Figure No. i. — Open-Wokk Embroidery. 

The style and stitch are much used in French 
embroidery and" make light, pretty work. 

Filling for Embroidered Scollops. 

Figure No. 2. — The method illustrated for 
" filling in " scollops before the embroidery 
is done, is very successful in giving a rounded 



formed of chain-stitching, is made in two rows 
between the outlining stitches, .\fter this. 



uemm 










Figure Nu. 2. — Filling lor Embroidered Scol- 

I.lllVS. 

the usual button-hole stitch is employed to 
cover the filling and complete the embroidery. 

Design for Embroidery. 
Figure No. 3. — This design will be found 




Figure No. 



-Design lor Embroidery. 



effect to the work when finished. The out- very pretty to darn along a strip of net to 
lines are run, and then an under-filling, form regular Breton edging. 



5° 



NeeDLe-cF^flFT. 



Embroidered Bee. 
Figure No. 4. — The Kensington stitch is 
used in forming the body, head and legs of 
the bee, and the Kensington outline-stitch in 
forming the wings. The colors may be 
selected to form a very realistic-looking bee, 
or may be of any preferred commingling. 
To embroider in connection with a spray of 




Figure No. 4. — Embroidered Bee. 
flowers, etc., in positions suggesting several 
bees in search of honey, the design is very 
pretty. 

Design for Bordering. 
Figure No. 5. — This bordering is done in 
embossed or plain satin stitch. The latter 
is among the list of stitches described and 
illustrated on other pages, but perhaps it will 
not be amiss to state that it is simply an over- 
and-over stitch, which on the wrong side looks 
nearly as well as on the right. In regular 
designs a running is first made to give a 
roundness to the work, but in borders it is 
not required. After the border is worked in 
one shade, a fancy stitching is done with 
another shade as represented, being woven 
in and out through the other stitches in 
regular splint style. The border may be 




filoselle. A person skilled in the combination 
of colors may make the delineation realistic, 
but it will often be worked in one color alone. 
On silk handkerchiefs, the colors used should 




Figure No. 6. — BrTTtkKLV for EMiiRoiDERlfJG. 

accord with the ground shade, or the effect 
will be bizarre. 

Blue Jay, in South-Kensington Stitch. 
Figure No. 7. — This design, worked in 
blue crewel in the South-Kensington stitch, 
is especially suitable for scarfs, towels, tea- 
cloths, or serviettes. The stem is in brown 
and the leaves are in dark green, while much 
artistic taste may be shown in the blue shades 
used for the saucy bird himself. Silk, cotton 
or linen floss may be used instead of crewels, 
and, if one were not anxious to follow the 



Figure No. 5. — Design for BoRiJtKiNG. 
worked on tidies, mats, sofa-pillows or any 
article requiring a finish of this description. 

Butterfly for Embroidering. 
Figure No. 6. — This represents the exact pattern set by Dame Nature, the bird might 
size of a butterfly for embroidering in silk or be of any gorgeous coloring desired. 




Figure No. 7. — Blue Jay in 
South-Kensington Stitch. 



neeDLe-CF^AFY. 



SI 



Flower Spray, in Satin Stitch. row of such sprays to form a border to a 

Figure No. 8.— A spray of flowers, that towel would be in good taste, and any colors 
shows a pretty commingling of colors, is 
always a delight to the worker in crewels or 
silk. This is done in crewels, and the leaves 
and stem are of carefully selected dark green 
tones, the petals of the blossom are of deep 
yellow, while the hearts are of dark brown — 
a combination that must be a correct one, for 
it is copied directly from the flowers of the 
field. Any of the threads used for such work 
may form the pretty cluster, a consideration 
of the background and the use to which the 




Figure No. 8. — Flower Spray, in Satin Stitch. 

article is to be put deciding whether very 
simple or very elaborate materials be used. 

Bunch of Oats, in Satin Stitch. 

Figure No. 9. — A spray, especially pretty 
to have scattered over a tea-tray cover or 
pillow-sham, is here pictured. It is done in 
satin stitch with dark golden cotton in this 
instance, but could be of any color desired. 
On linen for pillow-covers it might be in clear 
white ; on a tea-tray cover it could be in 
scarlet, olive or yellow ; while on a table-cloth 
of felt, plush or any fine material, gold thread 




Figure No. 9.— Bunch of Oats, in Satin Stitch. 

desired, that would stand laundering, could 
then be selected. 

Flower Spray. 
Figure No. 10. — This graceful spray is 
embroidered in the Kensington stitch, and, 




Figure No. 10. — Flower Sprav. 
while the leaves should always be done in 



might be used with good effect. A straight green shades, the blossoms may be white, 



52 



NeeDLG-CHflFT. 



pink, salmon or any hue preferred. The cen- may be introduced, with elegant effect. Beads 

ters of the flowers are usually done in knot may be used for the eyes. Both designs may 

stitch. On table-scarfs, lambrequins, or any be embroidered on a scarf, in the points of 

article preferred, this design may be embroi- lambrequins, the centers of mats or the cor- 

dered as a corner decoration, or it may be ners of handkerchiefs. The butterfly is usu- 

repeated to form a graceful vine, with charm- ally surrounded by several wasps grouped in 

ing results. a fanciful manner. In the corners of hand- 





FlGURE No. 12. 



Figure No. ii. 
Figures Nos. ii and 12.— Butterfly and Wasp, in Kensington Stitch. 




Figure Xo. 13. —Design for Outline Emuroidery. 

Butterfly and Wasp, in South-Kensington Stitch. kerchiefs the designs may be white or in 

Figures Nos. 11 and 12. — The wasp and natural tints, as preferred. 
l)ulterfly here illustrated are done in South- Figure No. 13.— Such a design as this, 

Kensington stitch, and the butterfly may be suitable for the edges of a towel, a tray-cover 

as brilliant in hue as desired. Several colors or, indeed, any article to which it adapts 



NeeDLG-ci^iiFr. 



S3 



itself, may be done in one or many colors in table scarf, etc. It is done in the South- 
the South-Kensington or outline-stitch. Its Kensington outline-stitch, with flosses, crew- 
simplicity is as attractive as it is suitable, and els, etc. 
will undoubtedly commend it to nian\'. Figure No. 15. — Rose pink for the blooms 




Figure No. 14. — Floral Design, in South-Kensington Outline-Stitch. 




Figure No. 15.— Briar-Kose Design, in South-Kensington Outline-Stitch. 



Figure No. 14. — This pretty design may and the tips of the buds, and olive for the out 
form a border to a table cover, piano cover, line of the buds and leaves, and also for the 



54 



NeeDLe-CRflFT, 



stems, are the natural combination of colors Kensington outline-stitch. Golden yellow and 
in a design of this kind. dark olive are the proper colors. The work 




Figure No. 17. — Pansy Design, in Outline-Stitch. 
FiouRE No. 16. — This engraving illustrates is simple, and the result, when neatly accom- 
a pretty design of buttercups, done in South- plished, veiy beautiful. 



NGeDLe-CRAFT. 



55 



Figure No. 17. — On lambrequins, table- The design of any of the fire succeeding 
scarfs, chair-scarfs, table-covers, etc., this is ones may be used as a border to lambrequins, 




I til 11 II 

Figure No. iS. — Swa.mp-Gr.'^sses .■vnd Cat-Tails, in South-Kensington Outline-Stitch. 




Figure No. 19. — Floral Design, in Outline-Stitch. 

a pretty and graceful design. It is merely table-covers, piano-covers, etc., of plush, cloth, 
outlined with floss, embroidery silk or crewels, or velvet, and maybe filled in with the much 



56 



NP;GDLG-CI?flFT. 



admired Soutli-Kensiiigton stitch when a rich, 
heavy result is desired. 

Figure No. i8. — The grasses and cat-tails 
composing this design are simply outlined 
with colored floss or any embroidery fabric, 
in Souih-Kensington oulline-stitch. The de- 
sign may be filled in with the South-Kensing- 
ton ^-titch, and will look best so completed 
when a heavy effect is desired. On plush, 
cloth, flannel, damask, velvet, etc., the design 



niav be. Silk or linen floss, crewels, or very 
narrow ribbons are used for working such 
designs. 

Fic;uRE No. 20. — This design is wrought in 
various shades of brown, but any combination 
of colors or any one color may be used for it. 
Its simplicity will commend it to those whose 
knowledge of embroidery is not great, while 
its correctness and beauty will find favor in 
the eye of the skilled work-wornan. It may 




Figure N'o. 20. — Floral Pattern, in Cutline-Stitch. 



is very effective. When filling-in is followed, 
the colors should match the natural hues as 
nearly as possible. 

FicuRE No. 19. — The daisy and cat-tail 
design here shown is in simple outline-stitch, 
it being a mere matter of taste as to whether 
it is done in that way or filled in. The foli- 
age is dull green : the cat-tails, a golden 
brown; and the daisies, wiiite with yellow 
hearts. Done in one color, this will be found 
a desirable pattern for towels or linen covers ; 
and, when elaborated, it is a favorite on all 
artistic fabrics, no matter how elegant they 



be suitably used on any article requiring a 
bordering. 

Embroidery Design. 
Figure No. 21. — A beautiful design for a 
border on table-covers, lambrequins, tidies, 
etc., of plush, felt-clolh, momic cloth, satin, 
velvet, etc., is here illustrated. The embroi- 
dery may be done with either satin or South- 
Kensington stitch in any preferred colors in 
floss, embroidery-silk, crewel ox filoselle. The 
daisies, embroidered with yellow centers and 
wliite petals, and the leaves, in dark green, 
will produce a beautiful realistic effect on 



NseDLe-ci^AFT, 



57 



olive, red, brown or green. The daisy petals caps or any decorative articles, with beautiful 

are effective, but not quite so complete in results. It is a tasteful selection for the 

appearance, when formed of two long threads embellishment of house coats or dressing 

of floss ; and in this event the rest of the gowns for gentlemen. 




l\ \ I 

Figure No. 21. — Embkoidery Design. 



pattern need only be outlined. This pattern 
is especially effective on a handsome table- 
cover. 

Embroidery Design. 

FiGURii No. 22. — A handsome floral design, 



Embroidery Design for Suspenders. 
Figure No. 23. — This design is done in 
satin stitch with silk floss of the realistic 
tones; the wheat being yellow, the forget-me- 
nots blue, and the thistle a d.irk purple. For 




Figure No. 



-Emiiroiderv Design. 



done in South-Kensington stitch, is here illus- any article on which a vine pattern was 
trated. The design may be used for table- desired, this would be especially suitable ; 
scarf.s, table or piano covers, tidies, smoking- and for ribbon strips to place as borderings 



S8 



NeeDLG-ci^AFr. 



on fancy aprons or drapery, it will be in good one for any garment oi drapery requiring a 
taste. Sliglnly enlarged, it would be pretty running design, and to any one at all familiar 




Figure No. 23. — Embroidery Design for .Suspenders. 

on a towel ; and, in its present size, it is with the stitch will be found a very simple 
proper for a tea-tray cover. example of it. If desired, split zephyr may 




Figure No. 24. — Floral Design, in .South-Kensington Stitch. 

Floral Design in South-Kensington Stitch. be used, instead of crewels or floss, on flan- 

FiGURE No 24. — This design of roses and nels or any woolen materials. 




Figure No. 25. — Decorated Strip for Horders. 

foliage may be done in fine white, or some Decorated Strip for Borders. 

taste may be displayed in the use of natural Figure No. 25. — This engraving illustrates 

colors. The pattern will be found a pretty a strip of velvet decorated with applied leaves 



NeeDLe-ci^AFr. 



59 



of brilliant Autumn colorings. The leaves handkerchiefs, or to the corners or centers 
were selected from a line of manufactured of an)- articles for which such a design is 
floral appliques, and may be obtained in every required or considered appropriate. The 
variety. They are arranged in a vine design, tints selected must depend upon the taste, 
and the stems are done in outline-stitch. For shaded graj-, brow.i ,incl wood colors being 
a center strip for a chair, a border to a scarf, 
lambrequin or table-cover, etc., the strip is 
very handsome and graceful. 

Design in South-Kensington Stitch. 

Figure No. 26. — For the corners of hand- 
kerchiefs, or for decorating tidies, mats, lam- 
brequins, moui/ioir-CAses, or any fancy article, 
this design is graceful and pretty. The bird- 
may show the natural tintings of its plumage, 
and the bough, grasses, etc., may be olive 



Figure \u. 27. — Lai's Head, in Suith-Kensing- 
TON Stitch. 

generally used. The wood color is selected 
for the present example, with black for the 
eyes and tip of the nose, and red for the 
mouth. 

Design in South-Kensington Stitch. 
Figure No. 28. — The most brilliant shades 
of brown, together with dense shades of the 
same color, are selected in embroidering the 





Figure No. 26. — Design in South-Kensington 
Stitch. 

green, dark green or any desirable shade in 
green or brown. Silver or gray is very pretty 
for the bough, with green and brown for the 
grasses and cat-tails. The stitch is the well 
known South-Kensington stitch, and is simple 
and effective. This design will often be 
developed in various colors, as corner decora- 
tions for handkerchiefs. 




Figure No. 2S- 



-Design in 
Stitch. 



Soutii-Kensington 



Cat's Head, in South-Kensington Stitch. butterfly and cat-tail here represented. The 

Figure No. 27. — This engraving shows a design may have gay colors for the butterfly, 

design that may be applied to the corners of if desired. The plain Kensington stitch is 



6o 



NSeDLe-CI^ilFT. 



here used, as by it the shading can be most 
properly done. 

Design in South-Kensington Outline-Stitch. 

Figure No. 29. — 'I'his design is done in 
straw color, and black, seal-brown and ecru 
shades of silk floss. A trifle of green, needed 
for the wheat-leaves, is also seen. Any other 



I^eijsingtou Painting. 




Figure No. 29. — Design in South-Kensington 
Outline-Stitch. 



combination of colors may be used for the 
butterfly, and, as Nature has provided such a 
multitude of animated designs, we do not see 
the need of making original suggestions as to 
the colors to be used. 

Embroidery Designs in Satin Stitch. 

Figures Nos. 30 and 31. — These two 
engravings illustrate rich and efifective designs 
which are developed in satin stitch. They 
aTC adapted to the elaboration of any article 
f(.r which a rich decoration is desired, and are 
especially suitable lor the ornamentation of 
smoking-caps, being in the correct sizes for 
caps cut by pattern No. 1914 which is illus- 
trated in the Metropolitan Catalogue and costs 
15 cents. The designs being conventional 
ones may be duplicated in any color. Silks, 
crewels and chenilles are suitable for work- 
ing them. 



A.N'V variety of decorative work having its 
name prefixed by the word " Kensington" is 
certain to receive attention, and when it pos- 
sesses the artistic merits of Kensington paint- 
ing it is equally certain of being ]jermanently 
admired. A great many of the designs illus- 
trated in this book as being suitable for Ken- 
sington embroidery are equally appropriate for 
Kensington painting. The shading in Ken- 
sington painting bears marked resemblance 
to the arrangement of stitches in Kensington 
embroidery, and any one who understands the 
latter kind of needle-work and has a general 
knowledge of the blending of shades and the 
merest rudiments of decorative painting may 
attempt Kensington painting with a certainty 
of success. 

The designs that best repay the worker for 
her time and effort are those which permit of 
strong, bold touches. Amongst floral selec- 
tions those with bright blossoms are prefer- 
able. Birds, cats, dogs' heads, etc., are effec- 
tively represented upon artists'-board, blot- 
ting-paper, felt, plush with a short, thick nap, 
and velvet. If one be skilled in drawing, the 
design may be roughly sketched in outline, 
but if not it may be stamped according to 
the directions for transferring and stamping 
given' on another page. 

Tube paints are used, being adapted to the 
work without being thinned or reduced. All 
the outlining and all the sharp strokes are 
done with a rather long steel pen, that is 
heavy enough to bear some pressure, without 
spreading so as to weaken the nib after the 
first stroke. 

After deciding on the colors and mi.xing 
those that are necessary upon the palette, 
take the pen-holder in the hand, with the 
hollow side of the pen upward, and take up 
as much paint in it as it will hokl witiiout 



NGGDLe-CRfiFr. 



6i 



allowing any to run over the edges. Clean back toward the material. After the outlin- 

off the back of the pen thoroughly with an ing is done the pen is filled with paint, and 

easel rag, and still holding it with the back the petals are filled or covered with paint, 

downward in 'scoop fashion, draw the point which is applied in pen strokes that are drawn 




'^^s* 



^ ^ 



Figure No. 30. — Design in Satin .Stitch. 

over the outlines, turning the nib a trifle along toward the center in the same manner as the 

the outside to produce distinct edges, and turn- stitches are taken in embroidery, the em- 

ing it to the right or left, according to the di- broidered effect being further heightened by 

rection of these edges, but always keeping the scratching the bletided paint with the point 



62 



NeeDLG-CRilFr, 



of the pen, or with a needle. The tendency 
of the paint to form itself into little rolls as it 
leaves the pen aids the worker in producing a 
realistic effect ; and these rolls may be drawn 
toward the center in a way to greatly increase 
the light and shade elTect, the thickest por- 
tion being left where it is desired to have tiie 
shade darkest. The principal colors are first 



of painting, although if the design be a large 
one the paint may be applied inside the out- 
lines faster with a brush than with a pen ; and 
for flowers with thick clustered blossoms, such 
as sumac and golden-rod the brush is essen- 
tial, though the Kensington slitch effect is 
only attainable by the use of the pen. Good 
results cannot be assured unless plenty of 




Figure No. 31. — F.mf.rc.mherv Design in S.\tin .Stitch. 



applied and the darker shades ne.xt, after 
which the lighter tints are added and the 
shading and blending done, with the object 
that is being painted kept in mind. A good 
study or, if flowers are being painted, the nat- 
ural blossoms, are useful aids in this part of 
the work. 

Brushes are not much used for this variety 



time for drying be allowed, because part of 
the process consists in laying the paint on 
thickly and permitting it to remain in the lit- 
tle rolls which imitate stitches. The retouch- 
ing can be done a day or two after the first 
part of the work is completed, but the making 
up should be deferred if possible somewhat 
longer. 



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NeeDLe-CRAFT. 



63 



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CHAPTER X. 



Ertibroider)^ Designs, EspeciallY fldapled to the SeGGralian of Arlicles ef Dress. 




^HIS chapter includes descrip- 
tions and illustrations of 
several varieties of fancy-work 
and embroidery stitches which 
are often employed in the dec- 
oration or finishing of wearing 
apparel, and they are for this 
reason grouped by themselves 
instead of being distributed 
among those which are limited in their 
application to articles of household adorn 
ment. 

Floral Embroidery Designs. 

Figures Nos. i and 2. — These designs 
are here given in their proper sizes. The 
sprays are pretty and graceful, and may be 
done in solid embroidery, in outline stitch, or 
in a side stitch such as is shown in the 
flowers ; or they may be cut from velvet, 
plush, satin or silk and applied with button- 
hole stitches. The leaves are usually veined 
after being otherwise finished. The centers 
of the flowers should be done in knot stitch 
to be effective. The " side " stitch combines 
long and short stitches in the manner illus- 
trated ; care must be taken to slant the 
stitches down the sides of the petals in the 
manner illustrated, or else the shape of the 



petals will not be graceful. Sometimes 
flowers of this kind are embroidered in darn- 
mg stitch, and the leaves are done in Ken- 
sington stitch or else in applique work. 
They are especially pretty upon tea-gowns and 
house jackets. 



Spray of Roses for Decoration. 
Figure No. 3. — A rose with its buds and 
foliage is here shown developed in pink plush 
and shaded green arrasene for decorative pur- 
poses. Suitable for lambrequins, portieres, 
cushions, or, indeed, any large background 
allowing such decoration, its uses are many. 
The rose and buds are cut from small pieces 
of plush, while arrasene is used in applying 
them and forming the leaves. Any shade of 
plush preferred may be chosen, clear white, 
deep cream and pale or deep yellow, all 
being colors that the queen of flowers takes 
unto herself. 

Section of Rose-Bud. 

Figure No. 4. — The rose-bud petal in its 
full size, after the seams have been taken off, 
is here shown. Two or three are required for 
each bud, according to the size desired and 
the disposition of the sections. 




Figures Nos. i and 2.— Floral Embroidery Designs. 

64 



NeeDLG-ci^iiFr. 



G^ 



Section of Rose. 
Figure No. 5. — One section or petal of the artistically arranged, they may be of different 
rose itself is here shown in full size after tiie shades, though a novice in doing applique work 
sewing; five such pieces are required, and, if will be acting wisely in only having one tone. 



I'IGURE \ii. 5. — SECTION 

OK Rose. 




Figure No. 4. — Sec- 
tion OF KOSE-BUD. 



Figure No. 3.— Spray of Roses for Decoratii 



66 



NeeDLG-CI^AFT. 



Anchor and Star in Satin Stitch. circles of the desired sizes are drawn on the 

Figures Nos. 6 and 7. — These pretty or- article to be decorated, and the stitches, which 

nanients in embroidery for the collars and are effective arrangements of the button-hole 

cuffs of the sailor style of sea-side and moun- cord and long stitches, worked over them, 

lain costumes are done in satin stitch with Coins may be used to describe the circles, if a 

silk or linen floss in any preferred colors, compass be not at hand. 





Figure No. 6.— A.n-chok ].\ .Satix Stitch. Fu^ukk No. 7.— St.vk in Satin Stitch. 

The designs will generally be used sepa- Figure No. 8 illustrates the long stitches 
lately, and are of the proper size for girls' forming a star in the center of the design 










Figure N 



FiGUKE i\'o. 15. 



Figure No. 14. 
Figures Nos. S to 15.— Designs ok Fancy Stitches. 

and misses' costumes or for the costumes of and detached long stitches forming V's between 
ladies of small stature. the rays of the star. 

Designs of Fancy Stitches. Figure No. 9 shows a circle of chain 

Figures Nos. 8 to 15. — These fancy stitches, which are made by sewing toward 

designs in ornamental stitching, which may be you and holding the thread under the 

used with gort^eous effect on tea and fancy- needle to form a series of uniform loop 

work aprons, as well as on tnWe. chair and stitches. 




■ FlGUUK Xo. 16. — STI H IIES ICJK tYELET-IloLES. 

other scarfs, are illustrated in the above At Figure No. 10 is seen a circle of button- 

figures. In every instance circles or parts of hole stitches, and Figures Nos. 13 and 15 illus- 



NGGDLe-CI^AFr. 



67 



trate parts of circles worked in button-hole 
stitch. 

FiGTTRE No. II is a circle done in cord 
stitch, which is nothing more than slanting 
over-and-over stitches made close together. 

Figure No. 12 is made of evenly spaced 
long stitches done between two circles of 
different sizes in pairs that form Vs. 



outline is first run by a single thread of 
floss, after which two or three other threads 
are run in at the lower half to make it 
appear wider and heavier. The cloth is 
then slightly cut, and the edges drawn in by 
the stitches. The thin part of the eyelet is 
worked in a plain over-and-over stitch, while 
the wide part is done in button-hole stitch. 




Figure No. 17. — Designed in Daisy Spr.\vs. 



Figure No. 14 is a star formed of long This style of embroidery is considered pretty 

stitches radiating from a center. for making scollops and blossoms. 

Stitches for Eyelet-Holes. Design in Daisy Sprays. 

Figure No. 16. — This engraving shows a Figure No. 17. — On any article of orna- 

method of making the eyelet-holes seen in ment this pretty design may be worked. A 

much of the French embroidery. The plain tea-gown having the center front similarly 



68 



NeeDLe-CRflFT. 



embroidered is especially artistic and does 
not require a large outlay. The daisy petals 
are formed of narrow gros-grain ribbon, 
known as 'daisy ribbon, and the centers are of 
golden floss in knot stitch. The petals and 
stems are worked in South-Kensington stitch 
with flosses, crewels, chenille or arrasene or 
embroidery silks in the required colors. The 



ribbon used for the petals is No. i in width, 
and a needle with an eye large enough to run 
the ribbon in is necessary in adding it. In 
using ribbon in this way, only short lengths 
should be cut, as, after having been drawn 
through several times, it is apt to curl up 
instead of being fiat and smooth as the effect 
requires it to be. 



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69 




CHAPTER XI. 



Designs Adapted 10 Kerisinglon En^brQiderY or Painting. 




Calendar. 

'IGURE NO. I. — This 
beautiful bit of artisti,c 
work is very simply made 
and will prove a hand- 
some New Year's gift to 
either a lady or gentle- 
man. A piece of card- 
board of the size desired is covered on one 
side with velvet or plush embroidered with a 
graceful bird or other design, and the greet- 
ing, " Happy New Year." The other side is 
plainly covered with silk or satin, and a silk 
cord is sewed to the edges and coiled in a trio 
of loops at each corner. The pad may be 
purchased at almost any stationery store, and 
is neatly pasted in the upper right corner of 
the embroidered portion. Ribbons for hang- 
ing the calendar are fastened under bows to 
the top of the article and are regulated to be 
shorter at the side holding the pads, so that 
the calendar will hang straight. The ribbons 
are tied in a bow at the point of suspension. 
Such calendars may be of any color preferred, 
and hand-painting, instead of embroidery, may 
decorate them, with equally artistic results. 
An explanation and illustration of the bird 
decorating the calendar in this instance are 
given at Figure No. 2. 



Embroidered Bird for Calendar. 

Figure No. 2. — South- Kensington and 
satin stitches are employed in embroidering 
this knowing-looking cockatoo, and as floss 
in all the brilliant tints pecufiar to his lord- 
ship is artistically introduced, the effect is 
quite realistic. The bird is used in decorat- 
ing the calendar pictured at Figure No. 1. It 
is a pretty and effective design on table- 
scarfs, lambrequins, sachet and handkerchief 
cases, etc. 

Butterflies in South-Kensington Stitch. 

Figures Nos. 3 and 5. — Two sizes of the 
butterflies adapted to various articles are 
here illustrated, and both are reproduced in 
brown and gold coloring. Much taste may 
be used in the disposition of the colors, so 
that they may differ while yet of the same 
lineage and family. For the corners of hand- 
kerchiefs, especially the silk ones so much 
liked by gentlemen, either of these butterflies 
will form a pretty decoration. If one wished, 
a muffler might be made quite elaborate by 
having scattered all over it embroidered but- 
terflies of the smaller size. 

Humming-Bird in South-Kensington Stitch. 

Figure No. 4. — Brown and deep yellow 
tones are used for the delineation of this bird, 
which is wrought in South-Kensington stitch 



^o 



NeeDLe-CF^AFT. 




Figure No. j—l'i II KKi'LY in S(H'iii-Ki-n>in(.tcjn Stitch. 



NeeDLe-cj^flFT. 



71 



and which forms part of the design on the mouchoir-case, or, indeed, on any article need- 
lambrequin illustrated. It would be quite ing a pretty but decided ornamentation, 
pretty as a decoration on a sachet-bag or 



n^ats a lid ^ugs. 



Rugs are very artistic as well as very prac- 
tical in their uses. They are too often 
disposed stiffly at the thresholds of living- 
rooms, where they are not needed for practi- 
cal purposes, and where their artistic value is 
not recognized. A mat of white Japanese 
goat-skin is among the least expensive of 
handsome rugs. It is not a practical selec- 
tion for a doorway mat, but it is a beautiful 
adjunct to the furnishings of a room in which 
ultra light colors do not predominate. Its 
disposal before the portifere of an arch, in 
front of a couch or sofa, or across a corner in 
which stands a small table or a fancy chair, is 
certain to prove attractive. Of course, the 
handsomer the variety of mat the richer the 
effect, but an inexpensive selection has been 
mentioned to illustrate the point of properly 
placing such articles. 

Sheepskin mats, dyed in various colors, are 
also among the medium-priced goods in these 



furnishings, and as they are not very wide 
they are especially suitable for threshold mats. 

Any one who has become accustomed to 
seeing such articles always spread primly 
alongside the threshold of a door between a 
hall and parlor or living-room will be sur- 
prised at the improvement noticeable if they 
are spread over the threshold, with half their 
width inside and half outside. Such a rug 
may be made the harmonious link between 
carpets which are not at all connected in the 
scale of colors. 

A couch in gondola shape, or one in low 
Turkish style, covered with a hand.some rug 
and having upon it cushions that are not too 
decorative to be useful, adds an air of com- 
fort and elegance to a library or study which 
seems inore in keeping with the uses of such 
an apartment than lighter and more airy fur- 
nishings. 



^ •; o <y <y:<y:\„ 

^::Ei X X x x x x x x x x^j^q? 

3tXXWXXX5S 



HAVEYousEEHLiiTG ALLS' HOME MAGAZIITE? 




Slnele Copies, 15c. Sl.OO iitr Vear. 

It Is :i FiNKLY ILLI'STRATED MON rllr.Y MAO- 
AZINK OK M PAGKS. ilfvoti-.l Ici lloMK I)ECO- 

iiATiox, Fancy Work. Akt Paintiso. Do- 

MESTIr IlKI.I'S FOK TIIE HoMK, etc. LIDA 

and M..I. ( I.aRKSON, tlie I'oitlar Artists 
ami authors, write onlv for I.vgalls' HO.ME 
MAf;AZI\-K. This Majrazlin". once In three 
months, contains a 

FULL PAGE COLORED PLATE. 

Also fn!l fnstnu'llons for its troatimtil. In-iiig 
rei>roiliicii..n> from Orieiiinl PaiutiiiMTS 
t»y Liila i'lnrkson. The Four Colored Plates 
are icorth the price of a year''s subscription. 

SAMPLE COPY TEX CENTS. 

(f you wish to examine tin- >Iat.'a/iiii- lufore 
subscrUjiu^'. seiul us your full a(|<ht.j^> and 10c, 
and wt* will send you a SaSiple ( Oi'Y.vfuitaln- 
Ing.i Full Page Colored Plate by LiDA 
Clarkson. printed in ilio exact culors. in wliich 
It is to be painted, entitled 

"I\ THE GLOAMING " 

The Magazine also gives /ull iustruciions for 
painting it. Address 




TGMLLS'STAMPJNCrPAINT: 

^^ USED FOR STAMPING 

I FELT, VEEVIH'. PLUSH^cJJiAKK GOODS 

SMALLTUBCS ISct*. LARGE TUBEA 25ci»- 

Wo send a TUBE of INGALLS' STAMPlN(i I'AlNT, also STAMPING BKUSH, f^fCEZS: with 

X^STG-^AXjIuS' 18SQ 

$1.00 Staxnpizig Outfit. 

.4M""* OrTFlT contains a Tube of InguUs' Stamplne I'ulnt luncd for atampliiie I'lusli. Velvet and Dark Goods), Stompins 
si» Bmsh, Boi Powder. Pad. Book of Instructlona for SlamplnE, and I>GALLS' 188!» CATALOGUE OF STAMPIXO 
PATTERNS, and the follonlnic Hat of FILL SIZED Stamplne Patterns: 

ANDSOraK AI-PHABET of 26 letters, ornamented with D.MSIES AND 
WHE.\T, eize two inches high— DESIGN OF APPLE BLOSSOMS FOR 
SCARFS, etc., size, 16x8 inches— BOEDER DESIGN OF ROSEBms. FERNS, 
etc.. size 20x8— C.\T-0'-NINE-TAILS, 16xS-DAISIES. 14xT— Gc>I.I>EN ROD, 14x8 
—IRIS. 14xT-DESIGN FOR TIDIES, SOFA-PILLOWS. SHOIMMNG BAGS, 
APRONS. SCARFS, etc.— CAI.LA LILY. 10x9-FI'CHSIAS,10xs-rLOVER, SxS— 
NASTURTIT'MS. .Sx8-MoKNIN(; GLORIES, Sx7-SU5L\C, 8x6— TIHER LILY, 
8x6— PANSIES. SxC-COXCOMH.SxB-TLI.IPS, Hx.'S-LILIES-OF-THE- VALLEY. 
7x6-EASTEK LILIES. Tx.'i- SCALLOPS, 1!^ and S^ inches wide— TRAV-( LOTH 
DESIGNS-TURKEY ON PI. \TTER-STRING OF "FISH— STHA WHERRIES — 
CHERRIES AND GRAPES-SMALL DESIGNS FOR CRAZY PATl HWoRK. etc. 
— OWL-HITTERFLIES BUGS-TENNIS RACKETS-CHILD'S HEAD 
—SNOW-BALLS -DAISIES-PINKS -F0R(;ET-ME-N0TS -WHEAT- 
BUTTERCUPS -WILD ROSE -TRUMPET FLOWER, etc.— TINSEL 
DESIGN, 6 inches wide— L.ARGE DESIGN FOR TABLE SC.\RFS AND 
CO\'ERS — SPLASHERS - PANELS - TINSEL WORK, etc. - POND 
LILIES, 15x7— POPPIES, 12x8- SWANS, allx8-'W^LD ROSES, 16x18. We 
send this Ouffil htj mail, pnst-naid. /or $1.(10. This is the best ?1.00 Onlflt 
that we iLive ever advertised. With ttii« Outfit yon can save money hy doin^ your 
own Stampine. and make, money by doiiii; Si.impins; for others. The Patterns In this 
Oiitfif are made on 1.5 she ■t.'. of onr /jesf Parclimeiii Paper {size 0/ eacfi sfieet^iii^ 
iuehe<i. These Patterns are made 'Spena/Ii/ for this c ii:itit and areV/V (liferent from 
the Patterns in onr 18W SI.iW Outfll. Send $1.00 for this Outfit, and you are 
sure to be more than satisfied. 

Address all orders to J. V. IIVG.AI.L,S, L,yun. Iflass. 

We will send vou INC ALLS' 1889 Sl.OO 
STAMPING OUTFIT, .1 n Years 
Subscription to INGALLS' HOME MAGAZINE, all for 

$1.75; Address: 

J. H. INGALLS, Lynn, Mass. 




T 



Mbntion Needlk-Crapt. 



IieeDLG-CF^iiFr. 



73 












CHAPTER XII. 



llltislratiGns and DesGriptions of Varioas Designs for Canvas, Cardboard 

and other Embroideries. 



HE designs presented threads thus being of a separate shade, and 
in this chapter will six shades being therefore used in the exam- 
be found very useful pie. A single stitch of yellow divides each 
in making tidies, cluster at the top. From each cluster to the 
mats, bracket-lambre- corner two threads of two shades of blue 
quins or anything re- zephyr, with one straight thread of gold- 
quirino- a border or center; and colored silk, are carried ; while between these 
although they are represented as threads half-way down begin two threads of 
done on canvas, the stitch is suit- two shades of olive zephyr, crossed by a 
able for any fabric, .as it partakes yellow silk thread; and these extend to a 
of the South-Kensington method, except that trifle below the cross-stitching, which consists 
the worsted covers the surface only and not of one row of the lightest red between two 
both sides. rows of yellow silk. From the cross-stitching 

to the corner the blue threads are over- 

Design for a Corner or Center-Piece. ^^.^^^^^ ^-^^^ ^g,,^^ ^,^^ magenta silk floss. 

Figure No. i. — This design may be used Upon black, the effect is very Oriental. The 

as illustrated for corners, or may be con- design is charming for small lambrequins, 

sidered only as one quarter of a circle to be mats, etc. 
used for a center-piece. It is composed as 
follows, although any other combination of 
colors will prove as handsome if selected with 
taste : the zigzag outline at the outer edge 
is formed of three shades of red — the darkest 




Design for a Tidy or Mat. 

Figure No. 2. — The South-Kensington 
stitch in one of its many forms is here used. 
Three shades of red are used for the Grecian 



at the inner edge and the lightest at the outline, and the shades are so distributed that 

outer — a gradation not shown by the engrav- sometimes the darkest is the outer thread, 

ing. The outer points are crossed by yellow and sometimes the lightest, as will be seen by 

silk floss, while shaded blue silk floss is used referring to the engraving. The stitches 

over the inner points, each cluster of four crossing the corners are in " new gold " silk 



74 



NeeDLe-ci^AFr. 



floss, and the daisies are in pale olive and 
dull blue — the former being inside the Grecian 
outline and the latter outside. Each daisy 




P'IGURE Nii. I. — I'ESIGN FOR A CuRNER OR CEN- 
TER Piece. 

is also outlined with floss, and the leaf at 

the corner is made of the three shades of red 

and the floss. Any other combination of 

colors preferred may be used. The design 

m 




FicuRE No. 2. — Design for a Tidy or Mai-. 
is suitable for sofa-cushions, etc., as well as 
for the purposes mentioned in the title. 

The other designs included in the ch.ipter 



will be found available in beautifying articles 
of use, such as tidies, covers, mats, cushions, 
etc., and also in making up portieres or dra- 
peries where the canvas work will produce 
a neat finish, suggestive of embroidered tap- 
estry. The following descriptions will make 
plain the colors used in the canvas work, and 
also simplify the details of the hem-stitching. 

Design for a Tidy or Mat. 
Figure No. 3. — There is nothing to be 
said in reference to the design here illus- 
trated, as the engraving shows its appropri- 




Ficuire No. 3. — Design for a Tmv or Mat. 

atcness for the purposes mentioned in the title. 
The sample is done in olive zephyr, with an 
outline of old-gold silk floss. Any 01 her 
combination of colors may be used, if pre- 
ferred. The main portion of the design is 
done in ordinarv cross-stitch, but the outlining 
runs straight along the sides of the stitches 
and also branches out between them in the 
manner illustrated in the engraving. 

Spray of Forget-Me-Nots in Cross-Stitch. 
FiGt'RE No. 4. — The flowers in this pretty 
little pnitern are usually worked in pale blue. 



NeeDLG-ci^AFr. 



75 



and the stem and leaf in olive-green. A 
cross-stitch of golden yellow in the center of 
the flower gives a charmingly realistic effect, 
and brightens the work beautifully. The 
design may be embroidered on canvas and 
perforated cardboard, and also on cloth and 
other textures. To render this kind of work 
neat and regular on cloth, flannel, etc., a 
section of canvas is basted on and the design 
then embroidered in ; and when the design 
is completed, the threads of the canvas are 
carefully drawn out. In this way any pattern 
may be wrought without difficulty on any 
fabric. 

Crown in Cross-Stitch. 

Fir.uRE No. 5. — Five strongly contrasting 
colors in wool, floss, embroidery silk, filoselle 
or crewel may be handsomely commingled in 
a design of this kind. The squares marked 
alike are to be alike in color, and the colors 
may be whatever the taste desires. The 
design may be embroidered on canvas of any 
variety, or on cloth, felt, velvet, plush, etc. 

Rose-Bud in Cross-Stitch. 

Figure No. G.- — The colors 'blended in a 
rose-bud of this kind are usually those seen 
in a partially developed moss-rose bud. Pink 
or white, blended artistically with light and 
dark olive, produces a very realistic effect. 

Design for a Canvas Tidy. 

Figure No. 7. — This engraving illustrates 
a quaint design for the center of a tidy, 
toilette-mat, or a cover for a small table. 
The foundation is known as ordinary canvas, 
and single zephyr worsted in black, light and 
dark brown, red and salmon colors, is used 
for the embroidery. The stitch is the well- 
known cross-stitch, and the arrangement of 
the colors may be clearly understood by com- 
paring the blocks under the engraving with 



those marked in the design. Two boys playing 
"see-saw " on a board that rests at the center 
upon a huge boulder, is the design repre- 
sented. The colors may be whatever the 
fancy suggests, although those mentioned are 
especially appropriate. 

Horse-Shoe Design. 

Figure No. 8. — This pretty design may be 
embroidered on velvet, plush, satin, canvas, 
etc., and is done in the well-known cross- 
stitch. It presents a novel effect when em- 
broidered on the front of a velvet slipper. 
The shoe may be embroidered in silver-col- 
ored floss, with gold-colored floss for the 
nails, or rvVr versa. It may also be done in 
any two hues for which a preference may be 
entertained. 

Design for Canvas. 

Figure No. 9. — A canvas-work design for 
two shades of wool is here represented. It 
needs no special explanation, the stitch being 
familiar to all, from those who indulge in 
fancy work at the present time back to those 
who worked samplers and pictures in our 
grandmothers' days. Tidies, mats, rugs, etc., 
may be prettily embellished by the design. 

Sunflower in Cross-Stitch. 

Figure No. 10. — The flower of the aesthete 
conventionalized is here given for the benefit 
of the industrious maidens who have reaped 
knowledge in decorative art from the resthetic 
movement. While applicable especially to 
canvas working, this stitch is often made use 
of on towels and napery, and the sunflower as 
shown will form a pretty corner or center- 
piece done in crewels or working cotton. 
Here it is in proper colored silk flosses, the 
filling-in to be of a deep olive shade and the 
entire piece to be mounted as a footstool, 
several of the blossoms being scattered over 
the cover, while the mnunting is 2;ilded wood. 



76 



NeeDLG-ci^AFr. 









^T I ; I r^, 



•^■■■■■■■■■■■■■■■■■■■Br 



ni|IBHBHBBBSBHBiaaaaM«BaBBBaHBBaMHBaanilXrT- 



H ffi 



.IJ. 
• ■* ■ 




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tvsmi 


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::::: li 


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T^ 






.:::: ::_lllu. 







Figure No. 4. — Si-ray I-"igure Nu. 5, — Crown in Ckuss-Stitch. Figvrk No. 6. — RosK- 

OF Forget-Me-Nots Bud in Cross-Stivch. 

IN Cross-Stitch. 




Light Hrowii. Ulack. Red. IlarU Brown. 

Frr.iRE Xo. 7. — Design for a Canv.vs Tidy. 




in ae 

□■ DH BD 
I ■ □ ■ DlS ■ □ 

□□MB Q"" "B^ 

— ~ - BH J^ 

■TO 

„ a 
« ^^ .- - "BO. 

an a n h_ _i"__"Sp« 

>g.s-g.s.|.s.g4-g-BS/gr. 

□□ aa aa qd □□ ma no ag ■> 
Do_«3a_Ba_Bn_nB_aa_nQ^BB^BO- 




8aBSBB"a«BBaBBHaBi)aaianaa 






.B a 

13 



oo 



Figure No. S.— Horse-Shoe Design. 



Figure No. 9. — Design for Canvas. 



NeeDLe-ci^iiFr. 



77 



Grade of Colors for Sunflower. 

Figure No. ii. — The colors used in 
making the sunflower and the niari< which in 
the design distinguishes them are here shown. 
The first in the scale is olive-green, then 
follow in regular order light orange, medium 
olive-green, light yellow, yellow, dark olive- 
green, light brown, and dark brown. A little 
care and there will be no trouble whatever in 
distinguishing just how the colors are used, 
and the growth of the sunflower will be quick 
and successful. 

Figures Nos. 12, 13, 14 and 15. — The 
borders illustrated at the corners of page 78 
are neat headings to self-fringed tidies, mats 
and covers for cushions. Colors may be used 
in reproducing them, but on account of the 
fineness of the design, it is best to use split 
zephyr or Berlin wool. If done in black silk 
on white canvas, they look like strips of 
handsome lace insertion carried about the 
edges of whatever they decorate. Sometimes 
a wider border is placed between two of this 
description, with an excellent efliect. Fancy 
card-receivers are made of white perforated 
cardboard, and these patterns are just delicate 
enough for such dainty atTairs, and may be 
done in any colored floss or wool that may be 
preferred. In working Nos. 13 and 14 two 
tints may be associated in whatever materials 
are chosen, with specially good elifect. 



about the daisies, (which are yellow and 
white,) made with black zephyr. The long, 
branching design between the diamonds is 
done alternately in olive, red and blue, there 
being three shades of each color — dark, 
medium and light — in each design. The 
leaves at the points of the diamonds alternate 
in the saine arrangement of color, the me- 
dium shades only being used. The yellow 
daisies have black centers, and each petal is 
overlaid with yellow silk, while the white 
daisies have yellow centers and are attached 
with white silk. The top band is cat-stitched 
on with yellow silk, and the clusters of 
stitches in the points are made alternately 
of the medium tints of red and blue silk. 
The lower band is also cat-stitched on with 
yellow silk, the latter also forming the clus- 
ters of stitches outside the edges of the 
band. In the upright points formed by the 
cat-sfitches the medium and light shades of 
red alternate in the clusters of stitches, while 
on the inverted points between them the 
medium blue and olive tints are used. The 
star designs at the bottom are made of all 
the worsted colors in succession, but the 
clusters at the top and bottom of each are . 
made of the medium shade of olive. The 
whole effect is showy and pleasing, and 
experience has proved that both the design 
and its develo]3ment are very fascinating. 



Border Design for Canvas. 

FiGiTRE No. 16. — Of course all our readers 
are familiar enough with Java canvas to 
understand and follow the design as illus- 
trated, so we will simply try to give the 
colors and their arrangement, as illustrated. 

The button-hole stitches along the edge to 
hold the fringe are done with a pale wood- 
colored zephyr, probably as near the shade 
of the canvas as could be found. The bands 
are of black velvet, and the diamond outlines 



Design for a Border. 

Figure No. 17. — As the engraving clearly 
delineates the manner of working this design 
as well as the center-piece, it will only be 
necessary for us to give an idea of the colors 
used in the sample. The rings and diamonds 
are formed of three threads of zephyr, the 
outer one seal brown, the next one pale 
brown, and the inner one white. The angles 
are all concealed b}- gold-colored silk, which, as 
will be seen by the engraving, is button holed 



NeeDLe-CRAFt. 



*■?:■-.■ .-^ ■=>:-.■'-'- ■■IPT?' •'.•■-r-'^31«« 
.-> V ."G O O ■ . D '■■ D- - QV-r:? 

h.-. Op OOa aOD ;DD0 DDa::>-3fl 
■ ■ . jU a D Q Q -D^i*!* 

r -. --D^O- OQD ODD ODQ. DOaoMtw 

•■-.Q Q \ 0_ -,D .. O ^^Dsa^ 

ODD DOD aDOJ-^HO 



O. O O 






at o o o a ■ 



■ a u-.o- a---^ 






□ Q '3 






Figure No. 
12. — Border 
FOR Canvas 
OR Perfora- 
ted Carii- 

BOARD. 



KiM|iSDBin>aaBa«a*nn»mciiiiaaaM 
aaSnaBBaHaaBBaaiuiaaiiiKaBBaHU 
■iipaiiBaaiaaaaa«*>ii|«aEx«»aai|ii3M 



o;. D' 



Vt. . ..■■ ' -.. TV' 

:•■ □..Q»o; □ o D D 

t :, p' □ - D - D 

>. 'ciQC' Doa ooD .tanD 

i, .^- -0 Hn^ ,_ _ .^ 

t. . m D O -D a 13aC G D D D'.D* 

Maa>aKoravaaaaiiaaBni»BaMi>Di:] 
nraaBwi««BaHnauBBm«>ttO >'' 



D a O D 
■:a'-a o D- 

n OQC3"G 

ago fingo- 



aaaaawaaBBaaBi 



Figure No. 13.— 
Border for Can- 
vas OR ]'ERFORA- 

TF.D Card-Board. 




«■: O'JDao' 1 

VBiaas*' ' D ' D .J 
■■•as'^D o ■ ^ 
maaBQ' l< 't:> .^' 
E«aaa\DGOD':i -'-' 

S5»a^C o \n-j',a 
aaaarci ■■ d ti 
EaaBKO D >□>. ^3 
»Baacoanoa--.aiB 
aBBBBQ3MQHna»aa 

ffaaaaaavRBeBaa■ 
aanaiBBaxacai 
■■BBaaaaaBsaBirl 
■■aaaaaaaaaaaai 



F CURE No. 10. — Sunflower in Cross-Stitcii. 




'-.' '1' Q-*.aK 

o .Qsiia 

OPC' ■ 

ij' : O ■ 

y - '-' Ci -- - , 

'-' '!< (I< ■ 

y o LI C" o '2 



— ien 

Brown. Brown. Green. low. Yellow. ive-Green. Orangre. Green. 

Figure No. ii.— Grade of Colors for Sunflower. 



Figure No. 14. — 
ISoRDER for Can- 
vas OR Perfoka- 

iKD Card-Board. 

»■■■■ 



Figure No. 15. — 
Border for Can- 
vas or Perfora- 
ted Card-Board. 



.waaaaEiiiaat,' 
r!ifB;ii»BiiaaS 



O D 

-40300 

n ' Q 

■ j-F-n-irr • 
■a ■. Fir-rO 

■ ocm . 
0-6; j^O 

xOdCQ 
tl, D ■ 

.-mi~irr 

a ~ ■ 



5*0 a. ij . G 
o D n - 






NeeDLG-CF^AFT. 



79 




Figure No. i6. — Border Design for Canvas, 






J»Hjlll. 







Imt.; KK No. 17.— Design for a Border. 



8o 



NeeDLG-ci^AFr. 



along inside of the white zephyr, and is also 
used to form the little prongs at the points of 
the diamonds. The stars within the rings 
are each formed of two shades of zephyr in 
three colors, arranged as follows : — one of 
scarlet, one of olive and one of blue, and so 
on, along the entire border. The center of 
each star is made with the silk. The little 



Design for a Piano-Cover or Table-Cloth. 

Figure No. i8. — This engraving represents 
a very handsome design for a table-spread, 
piano-cover or stand-cloth. The model from 
which this illustration was copied is made on 
garnet wool canvas with a rich, gold-colored 
floss, and is probably as effective a combina- 
tion as can be suggested. However, personal 



•iiKiiil 



|fi!!9|l[||pi| 








.■^' 






-i 



/' ^ 



V ' 



Figure No. iS. — I:)f.sig.\ for .\ Piano Cover or Table Cloth. 




stars in the diamond are made alternately 
of the lightest shade of red and blue used, 
together w-ith the silk. These colors form only 
one of many handsome combinations that 
may result from individual taste, and are 
therefore not the only ones that may be 
adopted. If three shades of one color be 
selected, the darkest should form tlie out- 
line, the reason for such a gradation being 
readilv understood. 



taste, and the prevailing tint in a room where 
the article embroidered is to be used, must d'- 
rect combinations. It is not necessary to use 
canvas, as cloth, felt or Canton flannel may 
be preferred ; but the meshes of canvas will 
be found of great assistance in following the 
pattern with regularity of stitch. The work 
is all done in a long, back-stitch or a sort of 
Kensington stitch, and is extremely effective 
in appe:irance. 



NeeDLe-cF^fiFr. 



8i 




CHAPTER XIII 



SPECIMENS 0F LfiGE AND MET?]0D 0F MAKING.- 



, .SHE engraving on this and those 
■'S^-if O" '^^ following pages illus- 
trate a variety of fancy-work 
that seems to be both imprac- 
tical and impossible for an 
amateur to undertake. It is, 
however, easily done, if one 
nows what to get for it and how to be- 
In the first place designs for lace work 
stamped upon thick paper, for making 




line of embroidery stuffs, you can purchase 
lace braid like the widest strips seen in the 
engravings, and feather-edge braid for the ex- 
treme border. The design is followed with 
the wide braid, which is flatly basted on ; and 
the outer border is produced by joining the 
loops of the feather braid to the edge of the 
lace braid. 

Figures Nos. i, 2, 3 and 4. — The specimens 
of lace pictured in these engravings indicate 




Figure No. i. — Cur.nek i,n Lace Work. 



barbes, collars, cuffs, etc., and one of these in their special uses. The fine lines on thtese ■ 
whatever style of article you want must be patterns are followed with single threads, the 
selected. Then at any fancy-store keeping a widest ones being two or three threads over- 



82 



NeeDLG-CHAFT. 




Figure No. 3. — Design for Lace Korher and Coknek. 




KicuRE No. 4. — Design for Insertion ok Lace Braid. 



NeeDLe-CP^AFT, 



83 



wrought closely in button-hole stitch. The pretty, and is much admired on dresses of 

dots seen are knots made at the crossings to gingham, print, cambric and other washable 

keep the threads from slipping, and the dainty textures. The tape with a lace-edge finish 

net-work about the inside of the border con- may be purchased in any shop where lace- 




FiGURE No. 5. — Russian L.ice. 

sists of a chain-slitch or lace-stitch done with makers' materials are kept, and the method is 

a single thread. somewhat similar to that followed in making 

Russian Lace. feather-edged trimming, a variety of fancy-work 

Figure No. 5. — This lace is durable and explained in another chapter of this book. 



It cannot be denied that Fashion is very 
instrumental in shaping feminine fancies, but 
when the good dame exercises her influence 
in fostering such agreeable and harmless diver- 
sions as making some variety of fancy-work, 
which shall as long as it lasts be cherished as 
a souvenir of the worker's taste and skill by 
whoever is fortunate enough to become its 
possessor she is above censure. Just now, 



in the name of sweet charity, many ladies 
are engaged in doing some variety of fancy- 
work in which they are especially proficient 
and disposing of it to the admirers of such 
work. Lace that has been made by some one 
who is known to the purchaser is especially 
liked, and the specimens illustrated in this 
chapter are among the patterns which the 
amateur lace maker most frequently selects. 



^^- 



^ 









84 NeeDLe-CRflFT. 













A Rest for a Gherob. 

The cherub is only a little plaster figure, 
and his proper sphere seems to be illimitable 
space, but he has such a winsome face and is 
altogether so bewitching that although he is 
cast in plaster by the thousand he is sure to 
be admired, and whoever possesses him to 
look about for a place where he may swing 
without danger of colliding with less terres- 
trial beings. An arched doorway, a chande- 
lier that is not hung too low, or an alcove 
where a tiny hook may be inserted is a fitting 
abode, and to make a bower suitable for such 
an inhabitant fasten cords about the arms 
or wherever they can be attached so as to hold 
the figure securely and suspend them from the 
hooks. Then cover the cords with smilax, or 
any climbing artificial vine and around the 
figure arrange a little nest or arch of ferns or 
any kind of greenery that will answer the 
purpose, being careful not to have the arrange- 
ment appear stiff or to obscure the figure ; 
flying cupids, winged Dianas and various 
quaint little figures procurable in plaster, 
bisque and terra cotta at small e.\pense may 
be artistically suspended in this way. 



^^:^'.*^<^'^^ 



NeeDLG-ci^iiFr. 



8s 







/^ 



CHAPTER XIV. 



EDGING AND INSERTIQN 0F DARRED RET APD FARGY TIDY. 




/i^y^^^^HE net used for this fancy-work 
T?(^i^y^^ is the kind known as "wash 
net " or " wash blond." Linen and 
silk floss are both used for the em- 
broidery, but the linen is preferable, 
as it does not turn yellow like the 
silk. The lace edgings and inserlitins illus- 
trated may be used on basques, skirts and 
dresses of thin lawn, muslin or nainsook, and 
are very dainty in appearance. 

Darned Lace. 

Figure No. i. — This engraving shows the 
effect when the selvage forms the finish for the 
edging. The pattern needs no e.xplanation. 

Figure No. 2. — At this figure a more elabo- 
rate pattern for an edging is shown. The 
border is finished in button-hole stitch and 
the net below it may be cut away. 

Tidy of Darned Net and Braid Rosettes. 

Figure No. 3. — This engraving illustrates 
a dainty tidy of wash blond embroidered in a 
pretty and simple design to suggest rows of 
insertion, between which full, soft-looking 
rosettes of flat linen braid are fastened at 
equal intervals. A row of the rosettes is also 
arranged about all the edges of the tidy, and 
forms a rich-looking border. Pale blue surah 
silk is used for lining and forms an efTective 



background, as it exhibits eft'ectively the 
beauty of the design. Silesia, cambric, silk, 
satin or any similar fabric may be used in- 
stead of surah for lining, and may be of any 
delicate or bright tint most pleasing to the 
fancy or in accordance with the predominat- 
ing colors in the room. The work must be 
neatly and carefully done to look well, and is 
so simple that only a little time and patience 
will be requisite to a pleasing result. 

Design in Full Size for Tidy, Illustrated at 
Figure No. 3. 

Figure No. 4. — This engraving shows the 
full size and pattern of the embroidery used 
in making the tidy represented at Figure No. 3. 
It is clearly illustrated, and its description in 
detail may be read at Figure No. 5. 

Detail of Stitch and Design for Tidy, Illustrated 
at Figure No. 3. 

Figure No. 5. — A thorough idea of the 
stitch and design used in making the tidy 
mentioned, is given by this engraving. The 
design combines the single and double 
stitches, the combination of the two being 
much more effective than if either were used 
alone. The single stitch is made by taking 
up two meshes of the net and leaving one be- 



86 



NeeDLe-ci^flFr. 



tween. In the double siiich all the meshes accurate all through. The necessity for doing 
are taken up, the second stitch taking up the this does not however add appreciably to the 
one left bv the first stitch, and a solid and time consumed in doing such work, because a 




Figure No. i. — IJarnkd Lace. 







l-'nai;i N« 



-I 1 AkM 11 l.AI I . 



irregular result is obtained. The meshes little practice enables one to judge c]uickly 
should be counted in the same way as in em- of the space taken up by a certain number of 
broidering canvas, so that the pattern will be stitches. 



NeeDLG-ci^AFr. 



87 




Figure No. 



-Tidy of Darned Net and Braid Rosettes. 




Figure No. 4. — De;sign in Full Size fur Tidy Illusikaied at 
Figure No. 3. 







Figure Ni 



-Dktam, of Stitch and UesigN foi: UUUUMSSfiS^tftfiSfifil 



Tidy Illustkated at Figure No. 




1-igl;re No. 6. — Design fuk Darned Net. 



88 



NeeDLe-cF^AFf. 



Design fcr Darned Net. 

Figure No. 6. — This design fully illustrates 
the double stitch in the border or margin. 
The stars have all the stitches radiating from 
one mesh, each stitch being "looped " through 
a mesh two or three holes from the center. 
This design may be employed for insertions — 
the engraving shows only half the figure — and 
applied to waists, childrens' dresses, skirts, 
etc., made of fine lawn or nainsook. 

Rosette, in Full Size, used for Tidy shown at 
Figure No. 3. 

Figure No. 7. — This rosette is dainty and 
soft-looking in effect, and is made of flat linen 
braid, which is usually white, but which may 



the braid is gathered a little in from the edge 
with medium long stitches, and is drawn in as 




Figure No. 7. — Kusoie in Full Size. 

be of any delicate or bright tint to match the 
lining of the tidy. 

Detail of Rosette. 

Figures Nos. 8 and 9. — These engravings 
illustrate the method adopted in making the 
rosette. In Figure No. 8 the first step taken 
in making the rosette is shown. One side of 




Figure No. 8. — Dktail ok Rosette. 

closely as possible to form the center, the 
ends being neatly joined so as not to be visi- 
ble. Figure No. 9 illustrates the mode em- 
ployed in shaping the outer margin of the 
rosette. The edge is caught down at equal 
intervals to the under side by stitches that are 
drawn only tight enough to retain liieni in 
place without wrinkling them. These ro- 




FiGURE No. 9. — Detail of Rosette. 

settes are much more easily made than those 
called " daisy " rosettes, and are fully as 
pretty in effect. The closeness of the ro- 
settes and the actual width between every two 
rows are simple problems, quickly solved by a 
few trial comparisons on the worker's part. 



<#]> 



(M--h 



<(^P 



(^^kk.\ 



(^^V 



NeeDLe-ci^flFr. 



89 




CHAPTER XV, 



GroGhelled (I5ork. Explanalion of Basis of all Greclielted cLork. llloslrations 

and DesGriplions sf Star Slitcti. 




HOUGH knitted work 
is as ancient as art 
itself, it has, like art, 
progressed with age, 



or how coarse it may be, the hook should be 
a perfect hook, or it will not " catch " well. 

Saxony yarn, Shetland floss, split, double 
and single zephyr wools, thread, floss, macranie 
and articles as fleecy cord, etc., are all suitable for crochet work ; 
as snow, airy and Shetland floss and split zephyr wools result- 
beautiful as floating Summer ing in the most exquisite of cloudy or fleecy 
clouds, and in usefulness, utility effects. 

itself, have come into being by the Detail of Chain-Stitch. 

aid of this simple and interesting Figures Nos. i, 2 and 3.— The funda- 
domestic employment. The stitches, espe- cental principle of all crochet work, whether 
cially in crochet work, are manifold in variety 
and as beautiful as they are numerous, and, 
by combining two or three fancy stitches in 
one article, a very tasteful and artistic bewil- 
derment of threads will result. 

These engravings illustrate and the accom- 
panying description explains a pretty and 
effective stitch called " star " stitch. The 
basis on which crocliet work of all kinds is 
founded is also fully explained both by 
description and illustration, so that those who stitch, the method of making which is fully 
are in blissful ignorance of the work may illustrated by the engravings and accom- 
become as blissfully wise. plished in the following way: Take an end 

An important item in the work is the of the thread or wool to be used in the work 
crochet hook or needle. This should be fine in the left hand ; twist the thread so as to 
or coarse to suit the worsted, thread, floss, form a loop, and hold the "loop between the 
cord or yarn selected ; and no matter how fine left forefinger and thumb ; throw the thread 




Figure No. i. — Detail of Chain-Stitch. 
the pattern is simple or intricate, is the chain- 



90 



NeeDLe-CRfiFT. 



over the first and second fingers, imder the 
tliird finger and over the fourth finger. The 
foiinh finger, by pressing against the third 
finger, serves as a sort of tension for the 
thread, so tliai the work may be done loose 
or tight, as desired. This is the method for 
holeUng the tliread properly, and is illustrated 
at Figure No. i. 

Pass the hook through the loop, and under 



Each time the hook is pulled through a 
loop counts as one stitch. 

A single crochet is made by inscitinj; the 
needle without throwing the thread over, and 
crochetting the two loops off at once. A 
double crochet is made by throwing the 
thread over the needle before inserting the 
latter and crochetting two loops off the needle 
at a time. 




Figure No. 2.— Detail of CiiAiN-SrricH. 




Figure No. 3. — Detail oi- Chain-.Stitch. 



the loose thread over the first fingers, as Method of Making Star-Stitch, 

shown by Figure No. 2. Figures Nos. 4, 5, 6, 7, 8, 9, 10 and 11.— 

'i'hen pull the hook through the loop ; keep To make this stitch, first make a chain of 

the loop thus formed on the needle, and pass stitches of whatever length the article to be 

the needle under the thread and pull it made is to be. Then take up the first stitch 

through the loop, as shown by Figure No. 3. in the chain nearest the hook, and pull the 

C'ontinue in this manner, till a chain of thread through the loop in the manner illus- 

suitable length is obtained. traled bv Figure No. 4.. 



NeeDLG-CI^AFT. 



9' 



Then take up each of the next five stiiclics make a chain-stitch to close the star, as 
in the chain in the same way, retaining all described at Figure No. 7. 




Figure No. 4. 




Figure No. S. 



the loops on the crochet hook and carrying 
the thread on the hook as represented by Figures Nos. 4, 5, 6, 7 and 8.— Method ok Mak- 
ing THE StAR-StITCH. 

Continue in this way till all the stitches in 
the chain have been used ; then fasten the 
thread b) making a chain-stitch, breaking 
the thread and pulling the end tightly through 
the loop. 

To make the second row of star-stitches : 
Figure No. 5 ; pull the hook through all the I^raw the thread through the first loop of the 
loops at one time, as illustrated by Figure 
No. 6. 




Figure No. 5. 





I- uauE No. 9, 

Figure No. '6. star-stitch first made, as shown by Figure No. 

, . , , ' q ; make three chain-stitches from this loop, as 

llien make one chain so as to close the ■' 

, „. -^^ , , shown by Figure No. 10 ; and take \m the 

star, as shown by figure No. 7 ; take up each ^ ° 

of the loops, lettered A, B, C, D and E, at 




Figure No. 7. 

Figure No. 7, in the same way as the stitches 
just described, retaining all on the hook as 
shown by Figure No. 8 ; then draw the hook 




Figures Nos. 9 anu 10. — Method ok Making the 
Second Row ok Star-.Stitches. 

stitches lettered A, B, C, D and E at this 



through, as described at Figure No. 6 ; and figure keeping all the loops on the hook till 



92 



NeeDLG-CKflFT. 



tlic five stiichcs are taken up, then draw them The effect of the stitches, when several 

off tlie needle and close them with one chain- rows have been made, may be seen at Figure 

stitch. No. II. 

Take up the next five stitches from the For nubias, shawls, fascinators, Afghans, 

star in the first row, and close this star like bab\--carriage robes and blankets, shopping 

the other one. bags, covers to hunting-bags, etc., this is a 




Figure No. ii. — .Shuwi.nh the KKKtir of .Several Rows 
OF Star-Stitches. 

Then proceed in the same manner all along beautiful and effective stitch. Of course, 

the line, and, when finished, commence the cord is preferable for shopping and hunting 

third row in the same way as the second, and bags, as it is very durable and can be easily 

so on till the article is completed. renovated when soiled. 




NeeiJLe-ci^iiFT. 



93 









s4c?*^s , 



CHAPTER XVI. 



Tarn 0'SFianler Hat and Method of Making "It. Fancy Horse Reins and 

Method of Making Them. 




%\^^l F Robert Burns had an inspiration 
for every fancy and a music for 
every mood, lie certainly also was 
blessed with the power to awaken 
Jb artistic genius in one man who has 
% been made famous by a most origi- 
nal piece of sculpture, which was 
the outcome of a true idea of the two jolly 
characters so vividly depicted in " Tarn 
O'Shanter," and which gave, undoubtedly, 
the first fame to the picturesque cap crown- 
ing Tarn O'Shanter's jolly head. 

This cap has a style that is entirely its own, 
and it is a favorite with children of all ages 
and both sexes and is much affected by young 
ladies while skating, sleighing, etc. Cro- 
chetted in crimson, scarlet, brown, blue or 
any becoming shade of wool, it is most useful, 
and its only needful decoration is a large 
pompon. 

In order to answer the numerous queries 
that have been asked in regard to directions 
for crochetting the cap, we have given its 
illustration and construction a prominent 
place in this book. 

Tarn O'Shanter Cap, and Method of Making It. 

Figures Nos. i, 2, 3, 4 and 5. — The cap 
illustrated at Figure No. i is made of dark-blue 
Germantown yarn of heavy quality. Take a 



bone crochet-needle of proper size and make 
three chain stitches, as shown by Figure No. 2. 




Figure No. i. 

Lift the first stitch on the needle, as shown 
by Figure No. 3, and draw it through the last 
stitch, as shown by Figure No. 4. Then in 
each of these stitches make two single cro- 




FlGURE No. 2. 

chets, and in each of these make two single 
crochets in the same way, working round and 
round, as shown at Figure No. 5, but not 
fasteninaf at the ends of the rows. After the 



94 



NeeDLG-CI^AFT. 



second row one single crochet only is made 
in each stilch, except when it is needful to 
widen so as not to make the work " cappy,"' 
two single crochets being made for this pur- 
pose whenever needed. All that is to be con 
sidered in the further progress of the crown 
is to have the work neither cap nor ruffle the 
least bit, and judgment will have to be exer- 
cised in introducing the two single crochets 



portion will be perfectly smooth when laid 
upon the outer part of the crown. The 
twenty-first row is made without widening or 
narrowing, and seven other rows are needed 
to form the brim and complete the cap. In 
making these last seven rows widen a little 
on each row, only enough, however, to make 
a band that will (\i ihe head of the person 
that is to wear the cn]3. When the last row 





Figure No. 3. 

in one stitch, as no rule can be followed in 

this matter. Crochet very tightly and evenly I-'igure No. 5. 

and do not widen regularly at certain places, is made finish of? securely and neatly. Then 

for this will spoil the circular shape needful, place this portion on the crown, with the right 

Forty rows are necessary to complete the sides together, and sew the parts together 

crown. The part for the side and brim is with a piece of the worsted, or crochet them 

made separately from the crown. Start with together by lifting together the corresponding 

a chain of as many stitches as there are .in stitches in the two parts and making half- 

the last row in the crown and join the ends 




Figure No. 4. 

of the chain ; then make a single crochet in 
each chain. In the second row make the 
same number of stitches as in the second 
row from the last in the crown, skipping a 
stitch when necessary to obtain the right num- 
ber ; each succeeding row should also con- 
tain only the same number of stitches as the 
corresponding row in the crown, until twenty 




Figure No. 6. 

stitches. The cap is then completed and 
ready for the pompon, which should be sewed 
on with strong thread at the center of the 



Fancy Horse-Reins. 
Figure No. 6. — That the coming man will 



rows are made. When correctly made this be fond of horses almost goes without saying, 



NeeDLG-CRilFr. 



95 



because from his youth up he displays a liking 
for their equipments, which is fostered by 
many a mamma and older sister. The reins 
shown have a pretty band of dark blue velvet, 
upon which is outlined a flying steed, whose 
record, it is fair to presume, has never been 
beaten. All around the edge are tiny bells 
that jingle with every movement of the pranc- 
ing boy. The reins are crochetted of scarlet 
worsted, and are sufficiently easy for even a 
novice to attempt. The stitch used in mak- 
ing the reins is called the Afghan stitch, and 
is illustrated and described at Figures Nos. 7, 
8 and 9 in this article. 

Afghan Stitch for Horse-Reins. 

Figures Nos. 7, Sand 9. — Illustrations are 
given of the stitch employed in making the 
play reins just described. First make a chain 
of five, six or more stitches, according to the 
width desired. Take up the stitch in the 




Figure No. 7. 
chain nearest the needle ; throw the thread 



each stitch in the chain in the same manner 
till all the stitches are lifted on the needle, 
as shown by Figure No. 8. Then throw the 
thread over the needle and crochet two 
stitches off the needle, and proceed in this 




Figure No. 8. 

manner till all the stitches are crochetted off. 
In the next row each of these stitches is lifted 
as shown by Figure No. 9, in the same manner 
as the stitches in the chain, and crochetted 
off as described. This is known as the 




Figure No, 



"Afghan" stitch, and is much used for car- 
riage-blankets, lap-robes, etc. Zephyr wools 
are usually employed for this stkch. Care is 
required even in this, the simplest of crochet- 



over the needle as shown by Figure No. 7, and ting, to do the work regularly and not have 
draw the needle through the loop; take up one line loose and another tight. 




He.— Wc-U now, you have it at 
last I Certainly that is the Most 
Sensible Patent that has been 
Rranied in nn atje. Vm delighted 
to sec you have Hall's Ba* 
zar Fornif and wonder how 
any woman can get along with- 
out it. 



She.~Vcs, there is iiotlilii*; 1 have ever 
oiviicd that •rivrs mo so iniicli satlslae- 
tloii. I in»w .sit while draping my dresses, and 
actually enjoy working upon them. 1 would not 
part with this Korm for several limes its Cost if 
another could not be procured. 




i I .'RouSH- 



SEE YOUR DREJiiS AS OTHERS SEE IT, 



By ii^iiijr 



HJILL'S ^R2lSI% FOI^ifl. 



A household necessity^ iniiispcnsable to ladies who do their own dressmakings or , 

Invaluable for looping and arranging reception dresses, and for noting the effect of different costumes. 
Saves all the fatigue of standing. Adjustable to any size, and when not in use folds up like an umbrella. 
The only Form Endorsed and Recommended by all Fashion Publishers. 
Awarded Medal of Superiority at American Institute. New York, December 15, 1888. 

For Sale by BUTTERICK PATTERN AGENTS, 

or sent to any address on receipt of Price. 

CoMrLETE Form, --- --.____. 

Skirt Form (Iron Post), to which bust can be added, __---- 
Skirt Form (weight 5 lbs.), ---_-_--- 

Sei^d for Descriptive Circular. 



•viploy 



$'"'•50 
1-50 
3.00 



HAI.L'S BAZAR FOR9I CO, 



833 Broadway, 



New York. 



We have placed HALL'S BAZAR FORMS on sale in all our stores in England and the United 
States, and recommend them to our patrons as being the only perfect forms ever introduced. 

THE BUTTERICK PUBLISHING CO. (Unnited.) 




NeeDLe-d^fiFf. 



97 



.!> 



-^^ -Mhh -M^ 






.!> 



^^ ^1^ ^1^ 



CHAPTER XVII. 



(IR0G?1ETTED LAMBREQU'ID, AND METH00 0P MAKING. 




HK fundamental principles of 
crochet work which were fully 
described in a previous chapter, 
wherein also the method of making 
some fancy stitches was clearly 
shown, should be fully mastered be- 
fore attempting this work, as some 
of these same stitches are used in making the 
lambrequin illustrated. 

Crochetted Lambrequin. 

Figure No. i. — This handsome lambrequin 
is made of macrame cord and satin ribbon, 
and is very elegant in effect. The method of 
procedure is as follows : 

Crochet a chain of forty stitches ; then 
throw the cord over the needle and lift up the 
fourth stitch in the chain nearest the hook, as 
shown by Figure No. 2 ; throw the cord over 
the hook and pull the loose cord through the 
loops lettered A and B in Figure No. 2 ; throw 
the cord over the needle again, and pull it 
through the two loops remaining on the needle 
— this is called a "double stitch"; — make 
six more stitches in the same way in the same 
stitch in the chain to form a shell of seven 
double stitches, as shown by Figure No. 3. 

Then throw the cord over the needle, and 
take up the third stitch in the chain, counting 



from the shell ; throw the cord over the 
needle, and draw it through the nearest two 
loops on the needle, as shown by Figure No. 
4; throw the cord over the needle again, and 
pull it through the remaining two loops, as 
shown by Figure No. 5. Then make two 
more stitches in the same way, taking up 
each consecutive stitch in the chain. 

Now make a chain of seven stitches ; throw 
the cord over the needle, and take up the 
seventh stitch in the chain, counting from the 
last stitch lifted, and proceed as shown at 
Figures Nos. 4 and 5, making three double 
stitches as shown by Figure No. 6. 

Now throw the cord over the needle, take 
up the third stitch in the chain, and make six 
double stitches in this stitch to form a shell. 

Then make three double stitches, taking up 
the third, fourth and fifth stitches in the chain 
consecutively, counting from the shell ; and 
proceed in making the seven chain and three 
double stitches and then a shell of six stitches, 
as just described. 

After this shell has been completed, make 
a chain of three stitches, as shown by Figure 
No. 7 ; throw the cord over the needle, put 
the needle between the third and fourth 
stitches in the shell just made, as shown by 
Figure No. 8, and make a shell of six double 
stitches. 



98 



NeeDLG-ci^AFr. 



Then throw the cord over the needle, and of seven stitches just beneath, as shown bv 

take up tlie first stitch in the group of three Figure No. lo; then throw the cord over the 

double stitches, as shown by Figure No. 9; needle, and pull it through all three loops on 

and make a similar group of three double the needle at once. 



!<?*:.«^«?>«?*rK'««k.«>iii^*s*Si0s<*>i^ 









l''lGL'RE No. I. — CUDCHETTED LAMIiREQUIN. 





l-'lCHRli No. 





Figure No. 4. 




Figure No. 3. Figure No. 5. 

Figures Nos. 2, 3,4 .-vnd 5. — Det.\ils oe Crochetted Lamhrequin. 



stitches, taking up each of the lower stitches Now make a chain of three stitches, throw 

in the same way. the cord over the needle, and take up the 

Then make a chain of three stitches, and stitches in the nearest group of three stitches, 

take up the fourth stitch in each of the chains proceeding as shown by Figure No. 1 1. 



NeeDLe-ci^AFr. 



99 



Cominue to the last shell in the first row in Then make a chain of three stitches, throw 

the same manner. the cord over the needle, and make a shell 

When the last stitch for the last shell in the of six stitches, as before, between the third 

second row is made, throw the cord over the and fourth stitches in the last shell made. 




Figure No. 6. 




Figure No. 7. 




Figure No. S. 
Figures Nos. 6, 7 .\nd S. — Details of Crochetted Lambrequin. 

needle, pass the needle between the first and Then complete this row in the manner 

second stitches made in the first shell in the described for the first row, making the chain 

first row, and crochet the loops off the needle of seven stitches between the groups of three 

as described for the double stitch. stitches. When the last shell is made in this 



NeeDLe-cp^flFT. 



row, make another shell of six stitches in the crochet the loops off at once, as shown by Fig- 
hole made by the chain of three stitches at the ure No. 13. 

turning of the first row to make the second Then make another chain of three stitches, 

row, commencing as shown by Figure No. 12. and pass the needle between the ne.xt two 




Figure No. q. 




Figure No. 10. 




Figure No. 11. 
Fkiures .\os, 9, 10 .wn 11. — Det.mls of Crochetted L.\mbrequin. 

Then make a chain of three stitches, and stitches in the shell, and so on all along the 

pass the needle between the nearest two shell, as shown by letters A. B, C and D in 

stitches in the shell just made, taking care Figure No. 14. 'I'lien make a chain of three 

not to throw the cord over the needle, ami stitches, and pass I lie needle in the hole be- 



NSeDLe-CI^AFT. 





Figure No. 13. 



Figure Ku. 12. 




. Figure No. 14. 
Figures No. 12, 13 and 14. — Details of Crochetted Lasibrequin. 



NeeDLG-CI^ilFT'. 



tween this shell and the next in ihe same Now throw the cord over ilie needle, and 

manner as shown by letter E in the same make a shell of six stitches in the next shell, 
figure. These loops finish a scollop, and are commencing as shown by Figure No. 14. 




Figure No. 15. — Effect of Several Rows of SrrrcnES. 

used at one end of the lambrequin to attach Continue to make this row in the same man- 
the fringe and at the other end as a head- ner as the row just made : finish a scollop at 
ing. tlie turninsT from this row to the next, as 



NeeDLe-CF^AFT. 



103 



described at Figure No. 14; and then make 
tliis next row to correspond witli the second 
row, by taking up the fourth stitches in the 
nearest two chains of seven stitches. 

An idea of how the lambrequin looks as it 
increases in width is given by Figure No. 15. 
The method described provides for the use of 
two rows of ribbon. If only one row is de- 
sired, a chain of twenty-five stitches will start 
it. If a deeper lambrequin is desired, six- 
teen stitches, added to the forty used for the 



double row, will provide for three rows of 
ribbon. The fringe is made by knotting 
several strands of the cord into the holes 
described as finishing the scollops, and may 
be of any desired depth. The ribbon may be 
of any color desired ; pink, pale-blue, car- 
dinal, orange, brown, peacock-blue, light-blue, 
olive, etc., being all pretty. The same pattern 
in crochet may be used in making tidies, with 
handsome effect. 



]{ Pretty Easel. 



That is, it became pretty after it had been 
decorated, but when it was first placed where 
the study of roses in a gilded frame, which it 
supported, would receive a good light, it was 
rather discouraging. The varnish was appar- 
ent, and yet the quality of the wood was ap- 
parent too, and neither were satisfactory. 
But it had to be adapted to the purpose, and 
this is how it was accomplished. 

A glance convinced the furnisher that there 
were quite as many draperies in the room as 
its style and size permitted, so a scarf was not 
allowable, even if it would have answered the 
purpose of the decorator. Yet near a cer- 
tain corner, but not /« the corner, the easel 
must stand. Its lower part would be some- 
what obscured by a chair drawn in front 
of it. The mass of bloom within the frame 



would bear a subduing influence, and this was 
attainable in the shape of several long vines 
of artificial English ivy and a few fronds of 
maiden-hair. The ivy was twined about the 
upper portion as if it were a growing plant 
rooted in a concealed receptacle at the back, 
and the fronds of fern were deftly tacked to 
the back of the frame at one corner by pins, 
and bent to droop from the top and extend 
slightly along one side, their delicate foliage 
forming a slight screen over the roses but 
not obscuring them. The effect was not 
only improving, but positively beautifying. It 
betrays no hint that the means were resorted 
to for any purpose other than to develop a pai- 
ticularly effective background, and conse- 
quently it is worthy of being pronounced 
" artistic." 



*^^|^|^^^ 



I04 



NeeDLe-cRAFT. 






= 


x^xx 
xxxx 


m 



#- 
^ 



^ Bit of Bloom. 

The modern fancy-worker may not be able 
to "paint the lily or gild refined gold," but 
the evidences of her liking for the golden 
finibh are quite obvious. 

A very pretty ornament for the corner of a 
room is made by gilding a fancy straw shade- 
hat and filling it with dried grasses, among 
which are set daisies that appear to be bloom- 
ing naturally. One side of the brim may be 
turned down so as to allow the grasses to fall 
over it, and an Alpine staff may. form the sup- 
port, the hat being attached to it by a large 
bow of ribbon. Artificial wild-roses, thistles, 
milk-weed pods with their fluffy contents dis- 
closed, or clover in masses of red and white, 
are all suitable blossoms for mingling with the 
grasses ; the hat may be mounted upon a lit- 
tle easel, but it is more picturesque when 
the staff suggests its association with a sum- 
mer's outing. 



NGeDLe-CRflFT. 



105 




<^;«f-^- 












CHAPTER XVIII. 



GR0GHETTED (150RK IN GRAZY STITGH. 




VERY pretty stitch 
known as the "crazy" 
stitch is introduced in 
this variety of crochetted 
work. Done in Shetland 
floss, split zephyrs, crewels, etc., 
it is beautiful and effective for 
shawls, Afghans and similar arti- 
cles. 

First, make a chain of stitches 
as long as desired for the article to be cro- 
chetted ; then throw the thread once over the 
needle, as shown by Figure No. i ; take up the 




by Figure No. 3 ; throw the thread over again, 
and pull it through the nearest two loops on 
the needle, as shown by Figure No. 4; and 
crochet the remaining two loops off in the 
same way, as shown by Figure No. 5. This 
completes the double stitch, which is also fully 
described in another chapter on crochet work. 

Make two more double stitches in the same 
loop, as shown by Figure No. 6. 

Then take up the third loop in the chain, 
counting from the loop holding the three 
double stitches, and throw the thread over 
the needle, as shown by Figure No. 7 ; then 




Figure No. 




Figure No. 2. 



third nearest stitch to the needle ; throw the pull the thread through it and the loop on the 
thread over the needle, as shown by Figure needle, at c/zu; to fasten down the shell thus 
No. 2, and pull it through the loop, as shown made, as shown by Figure No. 8. 



io6 



NeeDLG-ci^Af r. 



Then make a chain of three stitches ; throw proceed all along the chain in making the 

the thread over the needle ; pass the needle chain of the three stitches, a shell of three 

through the loop holding the last stitch, and double stitches and the single fastening stitch, 

make three double stitches in this loop ; in order as described. 




FlGUKE No. 




Figure No. 4. 




Figure No. 5. 




FlGL'RE No. 6. 

Figures Nos. i, 2, 3, 4, 5 .\xd 6. — Details of Cr.\zy Stitch. 




Figure No. 7. 



make the single or fastening stitch in the When at the end of the chain make a chain 

third stitch in the chain from this stitch, as of three stitches, as shown by Figure No. 10. 

shown by Figure No. 9. Then turn the work and take up the third 

Then make a chain of three stitches, and stitch in the shell of three double stitches 



NeeDLG-CI^AFT. 



107 



last made, as shown by Figure No. 1 1 ; and stitches in the next hole foimed by a chain 

pull the thread through, to make the fasten- of stitches, and so on to the end otihe row. 

ing stitch described. At the end of the row, take up the last 

Then make a chain of three stitches, throw stitch in the shell remaining, making a single 

the thread over the needle, and pass the stitch here, 

needle in the nearest hole formed by the Then make a chain of three stitches, turn 




Figure No. 8. 




Figure No. 10. 




Ftcure No. II. 
Figures Nos. 7, S, 9, 10 and ii. — Details of Crazy Stitch. 



chain of three stitches in the first row, as the work and proceed all through the line 

shown by Figure No. 12 ; make three double and all through the work, as described for 

stitches in this hole ; then make a single the other rows. 

stitch in the third stitch in the next shell, then This stitch is very simple indeed, and is 

a chain of three stitches, then three double also very effective, as may be seen by Figure 



io8 



NeeDLG-ci^AFr. 



No. 13, where the ajspearance of several rows out the entire article, or in alternating stripes, 

is shown. as desired. Contrastinj; colors may be in- 

In shawls, Afghans, nubias, fascinators troduced in Afghans and carriage-robes with 

and similar articles, a very rich and beautiful beautiful effect, making three or four rows 




Fir-.iiRE No. 12. — Detail of Crazy .Srnrn. 




Figure No. 13. — Effect of Several Rows of Stitches. 

effect may be obtained by using a thread of of one color for a stripe, and the same or a 
wool and a thread of silk floss together in sniallci inimhei- of rows of another color for 
a stripe. This may be continued througii- another stripe, and so on. 



mm.. 






NeeDLe-cF^AFr, 




CHAPTER XIX. 



109 



GR0(lHETTE0 LAGE edgings and INSERTlSn. 




^HIS specimen of cro- 
chetted lace is done 
with Snxony yarn, and, 
uhile it may be suitably 
used on dresses, it is very 
► appropriate as an edge to 
shawls having crochetted centers or centers of 
flannel, cashmere, merino, etc. It may also 
be appropriately used on underskirts or petti- 
coats for the grown lady or the child, and may 
be made up in white or any preferred color. 
The pattern is simple, and the method of mak- 
ing it is here fully described, so that but little 
efTort is necessary for a successful result. It 
would not be advisable to apply woollen lace 
upon any garment that is to be frequently 
laundered, as the design would soon become 
obscured by shrinking. There are, however, 
many articles to which such lace is particu- 
larly adapted that would not necessitate such 
a result. The scolloped portion is a light and 
airy garniture for infants' sacks, shawls and 
carriage robes, and also for ladies' house- 
shawls. The heading may be increased or 
decreased by beginning with twice or half the 
number of stitches. 

Before entering upon the method of con- 
struction, it will probably be best to refer to 
the stitches employed, so that the amateur in 



crochetting will not meet with difficulties. A 
single crochet, as previously explained, is 
made by inserting the needle, witJwut throw- 
ing the thread over, and crochetting the two 
loops off at once. A double crochet is made 
by throwing the thread over the needle before 
inserting the latter and crochetting two loops 
off the needle at a time. 

Crochetted Lace Edging and Insertion. 

FiGi-RES Nos. I and 2. — This pattern is 
simply executed and is very like torchon lace 
when made oi linen thread. The engravings 
clearly illustrate the pattern and style of 
stitches, and any lady familiar with crochet- 
work can readily pick it out. Insertion to 
match the edging is represented at Figure No. 
I. Made of coarse linen thread, the edging 
and insertion form a rich and handsome deco- 
ration for tidies, table and chair scarfs, and 
also for handsome scrim curtains. 

Crochetted Lace. 

Figure No. 3. — Make a chain of stitches 
about tu'o inches shorter than you desire the 
lace to be when finished; then turn and pick 
up the fourth stitch from the needle in the 
chain, making a single crochet stitch; make 
a cham of seven stitches, pick up the fourth 
stitch in the chain from the last stitch, mak- 



NeeDLe-CF^iiFr. 



ing only a single crochet stilcli, and continue stitch in the nearest hole, making a single 
in this nmnner all along the chain. crochet; then make a chain of seven stitches, 




Figures Nos. i and 2. — Crui. iu-.i 1 ku I.ace Edcinu a.\i» L\M'.RruiN. 

Wlicn at the end of the chain, make seven pick up the fourth stitch in the next hole, and 
stitches, and turn and pick up the fourth ron'.inne in the same manner all the way across, 



NeeDLG-CI^fiFT. 



Then make a chain of seven stitches, and turn for the second and third rows, and continue 

and make another row of holes in the same making the three rows of holes in alternation 

manner. with the single rows of grouped stitches until 

When the three rows of holes are made, a sufficient quantity of lace has been made, 

make a chain of five stitches ; then turn and To make the scollop : First row. — -When 

make four double crochet stitches in the near- the last row of the part just described is 

est hole. Make one chain, and then make made, make a chain of five stitches, and then 




mmMM 






Figure Nu. 3. — Crochetted Lace. 



four double stitches in the next hole, and so 
on to the end of the row. 

Then make a chain of seven stitches, turn, 
and make a single crochet in the hole between 
the clusters of four stitches. Continue in this 
manner all the way across. Then make two 
more rows of holes in the manner described 



make a double crochet in the nearest hole 
in the nearest long edge ; then make a cliain 
of two stitches, and make a double crochet in 
the right corner of the next hole ; make a 
chain of two stitches; make a double crochet 
in the left corner of the same hole ; make a 
chain of two stitches ; make a double crochet 



112 



NGeDLe-CRAFT. 



in the next hole ; make a chain of two double crochet in the right corner of the next 

stitches; make a double crochet in the next hole; a chain of two, a double crochet in the 

hole ; make a chain of two, and a double cro- left corner of the same hole ; and proceed in 

chet in the next hole ; a chain of two, a this manner to the end. 



]{ ^ouie-lT^ade Portfolio. 



In the mind of the one who designed and 
executed it, " home-made" is not synonymous 
with poorly made, nor suggestive of any 
apology for the origin of whatever she under- 
takes ; and her portfolio is an evidence- of 
the creditable work that can be done by any 
one whose efforts are based on the same prin- 
ciples. Two narrow white wood frames, one 
considerably wider than the other, were pro- 
cured and around the margin of each a con- 
ventional daisy design was hammered as it 
would be on brass. The surface of the rest 
of the frame was punctured slightly with a small 
nail, and then the woodwork was sized with 
white glue and thickly coated with metallic 
silver powder sifted through a piece of scrim, 
f n the smaller frame a photograph of a wood- 
land scene was placed within a mat of Gobelin 
blue plush, and in the larger one the owner's 
inter-linked initials worked upon satin the 
same shade, above a scroll which incloses the 
words "Ars Longa." The satin is mounted 
on a stretcher, as an artist mounts his canvas, 



backed with cardboard, and the nicety and 
precision with which the work is done gives 
no hint of the words which usually follow 
the quotation, for the worker apparently 
took plenty of time to do her best. 
There is no glass over the photograph, but 
upon the inside of its frame satin is tacked, 
and over the tacking a handsome silk cord is 
invisibly arranged. The two frames are 
hinged together at one of the longest sides of 
each, their positions being regulated to bring 
the larger frame at the back with the satin 
upon the inside while the photograph frame 
forms the front. Small silver screw-eyes are 
inserted in the ends of each frame, and 
through them are run small metal chains har- 
monizing in color, which hold the two frames 
at a proper angle. The stand is covered with 
Gobelin blue plush, and like the portfolio is 
almost entirely home-made. The entire affair 
is as attractive as it is useful, and may be 
duplicated with any variations in its details 
which personal taste suggests. 



J*^:ffi-r j'^v-'A / XX X X \ y.' ,' ?c-:%r;:^!-} 



NeeDLe-ci^AFT. 



"3 



%v^' 


















1^^ 



ji-.. 






':^^ 



.f^c 



CHAPTER XX. 



(^rcchctted Lace Edging and Insertion: Suitable for Linen, $ilk or (^otton. 




Crochetted Lace. 

HIS lace is pretty for under- 
'^"^ garments, aprons, pillow- 
cases, etc., and is made 
of fine linen or cotton 
thread, crochetted with 
a steel needle. 

Make a chain of seven stitches, 
and make three crochets in the 
seventh stitch from the needle, throwing the 
thread over the needle each time ; then make 
six chain stitches, and turn as shown at figure 
No. i; throw the thread over the needle, and 
make three crochets in the middle of the first 
three crochets; continue as shown at figure 
No. 2 until four loops are formed at each side 
as shown at figure No. 3. 

Now make three chain stitches, and make 
nineteen crochets in the first loop to the left; 
beginning with the second of these crochets 
to make a chain of nine stitches into every 
alternating crochet, throwing the thread over 
the needle and crochetting the thread and 
loops all off at once for every crochet. Make 
a single crochet in the next loop. 

Make a chain of three stitches and fasten 
in the middle stitch of the first loop of nine 
stitches as shown at the left of the scollop 



pictured at figure No. 4. Continue in this 
way ail around, until all the loops are taken 
up. Now to continue the heading make three 
chain stitches and then three crochets into the 
center of the three crochets forming the head- 
ing. Proceed by making six chain stitches 
and three crochets into the center stitch of 
the three crochets just made; make a chain 
of three stitches, fasten with a single crochet 
to the top of the first loop of the scollop. 
Throw the thread over the needle, put the 
latter through the first hole in the scollop, 
throw the thread over the needle again, drav,^ 
it back through the hole and single crochet, 
and with it draw all the stitches off the needle. 
Repeat until four of these crochets are made 
in the hole. Chain one stitch and proceed as be- 
fore until all the holes of the scollop are filled 
as just described, and as pictured at the right 
of figure No. 4. Throw the thread over the 
needle, put it through the next loop in the 
heading, throw the thread over the needle, 
draw the thread through the loop, and with a 
single crochet take off the three stitches on 
the needle. Make a chain of seven stitches, 
turn, and take up the fourth stitch on the 
scollop. Continue in this way all around tlie 
scollop. Now to carry the heading along 



114 



NeeDLG-CF^AFT. 



make a chain of three stitches and three cro- entire scollop. Now tal;-.- u;- the first loon ir. 

chets, making the latter into the center of the that portion oi the heading originally formed; 

three crochets already made in the heading. turn, throw the thread over the needle, put it 

Make a chain of six stitches, and make three through the first loopo^ the scollop, throw the 

more crochets into the last group described, thread over the needk and draw it through 




FIGURE NO. I. 




FIGURE NO. 2. 



FIGURE NO. 3. 



FIGURE NO. 4. 




FIGURE NO. 5. 
Figure.s Nos. 1, 2, 3, 4 and 5, Crochetled Lace and Method of Making It. 

Then make a chain of three stitches; fasten the loop; then with a single crochet draw all 

to the center of the first loop in the scollop the stitches off the needle. Repeat this last 

with a single crochet. Make a chain of four crochet, throw the thread over the needle and 

stitches and fasten into the next loop of the make a double crochet in the loop; make a 

scollo;). Continue in this way about the chain of four stitches, throw the thread over 



NeeDLG-CI^ilFT. 



"5 



the needle and draw it through this loop with 
another double crochet; follow this with two 
single crochets to complete the filling-in of 
this loop. Then continue this process in 
every loop about the entire scollop, to com- 
plete the outer edging. Making a chain of 
three stitches and fasten to the crochet which 



stage where the outer edging is begun. Then 
into the first hole of the second scollop make 
two single crochets, one double crochet and 
two chain stitches; take up the center stitch 
of the loop in the heading and the center 
stitch of the first loop in the edge of the com- 
pleted seollop with a single crochet; make a 





FIGURE NO. 6. 



FIGURE NO. 7. 




FIGURE 

Figures Xos. 6, 1 and 8, Crocheited 

forms the end of the heading thus far made. 
To continue the heading make a chain of si.x 
stitches and three crochets in the center of 
the three crochets already made in the head- 
ing, and continue with the heading until four 
loops are formed on each side. Make the 
second scollop the same as the first, up to the 



NO. 8. 

Insertion, and Meihod of Making It. 

chain of two stitches, turn, make a double 
crochet and two single crochets in the hole 
into which the two single crochets and the 
double crochet have been previously made. 
To make the second joining of the scollops, 
make two single crochets, one double crochet 
and two chain stitches; take up the center 



ii6 



NeeDLG-ci^AFr. 



stitch of the loop in the edging of the com- 
pleted scollop with a single crochet. Make 
two chain stitches, turn and repent the double 
and single crochets as explained for the first 
joining. Proceed by finishing the edging of 
the second scollop, and repeat the process 
until the reeiuisite length has been accom- 
l)lished. Then make a row of chain stitching 
along the top of the heading for sewing on 
the decoration. 

Crochetted Insertion. 

This insertion is to match the lace above, 
described. 

Make a chain of twenty-four stitches, then 
turn, and in the eighth stitch from the needle 
make three crochets, throwing the thread 
over the needle, as described for the head- 
ing of the lace. 

Then make four chain stitches, and make 
a double crochet in the fifth stitch in the 
chain from the group of three crochets. 
Then make a chain of four stitches and 
another double crochet in the fourth stitch 
of the chain, counting from the last cro- 
chet ; . then a chain of four stitches and 
three crochets in the fifth stitch from this 
on the chain; this is shown at Figure No. 6, 
as is also the next step, which is as follows : 

Make a chain of six stitches, turn, and 
make three crochets in the middle of the 
last three crochets made. Then make a 
chain of two stitches, and make eleven cro- 
chets in the second hole, making a loop of 
six stitches into the top of the second of 
these crochets and a similar loop into each 
alternating crochet, as represented at Fig- 
ure No. 7. 

Then make a chain of three stitches, and 



make three single crochets in the middle 
of the three crochets near the tnd. Make 
six chain stitches, turn, and make three 
crochets in the middle of the three crochets 
just made ; then make a chain of two stitches, 
and fasten in the center stitch of the near- 
est loop ; repeat the two chain stitches and 
fasten in each remaining loop. 

Then make a chain of two stitches, and 
Make three crochets in tlie middle of the 
crochets near the end. Make a chain of 
six stitches, and make three crociiets in the 
middle of the three crochets just made. 
Make two chain stitches, and make six single 
crochets in the hole between the first two 
loops, making a chain of five stitches between 
the third and fourth crochets. 

Repeat in each remaining hole as shown 
at the unfinished top row of Figure No. 8. 
Then make a chain of two stitches, and 
make three crochets in the middle of the 
three crochets near the end. 

Make a chain of six stitches, turn, and 
make three crochets in the middle of the 
three crochets just made; make a chain of 
two stitches, and fasten in the first loop ; 
make a chain of three stitches and fasten 
in the second loop ; make a chain of four 
stitches, and fasten in the third loop. 

Make a chain of three stitches, and fasten 
in the fourth loop ; make a chain of two 
stitches, and make three crochets in the 
middle of the three crochets near the end. 

This completes the pattern and the begin- 
ning row for the next pattern, which is done 
in the same way and is shown at Figure No. 
8. A chain is crochetted along each side, 
for the sewing-on rows. 



♦ > ?• < ' 



NeeDLG-CI^AFT. 



117 



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^5 



=22Sr 






I 
I 






gp^f;JF^ ^^ HEEHH HrJjj ^rgggg ' gr^ H r^ i" r" '^^^^ r^r^ ' jl ' E E?^ 






CHAPTER XXI. 



(^rochcttsd Lacss, with Braid Readings^ and IBcthod of making Them. 



% 




O make this lace, a i)iece of fancy 
braid with a loop edge and some 
fine cotton or line<i thread will 
be needed. Begin by fastening 
the thread into the first loop at 
one end of the braid, chain 
one stitch, throw the thread over the 
needle, fasten into the .second loop, 
chain one again and continue in this 
way into the seventh loop on the braid. 



double crochets, then another chain of three 
stitches and three double crochets, and still 
another chain of three stitches and four 
double crochets. Then take up the next 
loop with a single crochet. Make a chain 
of eight stitches, turn and fasten with a 
single crochet in the second loop formed in 
the first hole. Make a chain of three 
stitches, turn and fill in the hole with double 
crochets and loops as before. Make three 









FIGURE NO. I. 

Figures Nos. 1 ;aid 2 Represent 

Now make a chain of five stitches, then 
turn back and with a single crochet take up 
the second hole on the braid, counting from 
the needle; make a ciiain of eight stitches 
and take up the last hole on the braid, 
counting from the needle, and make a chain 
of three stitches, as shown at figure No. i. 
Turn and make three double crochets in the 
large hole just made ; then into this hole 
also make a chain of three stitches and three 



FIGURE NO. 2. 

Details of Crochetted Edging. 

more shells in the same way, fastening in the 
same manner in this hole, to complete the 
group of five shells shown at Figure No. 2. 
Now make a chain of three stitches, and 
fasten the first loop of the fifth shell to the 
first loop on the braid with a single crochet. 
Now take up nine loops on the braid in 
the same manner as in beginning tlie work. 
Then make a chain of five stitches, turn and 
take up the second hole on the braid, count- 



ii8 



NeeDLG-ci^ftFT. 



in" from the needle, with a single crochet ; a chain of two stitches, three double 

make a chain of eight stitches and, counting crochets, a chain of three stitches, three 

from the needle, fasten in the seventh hole more double crochets, then a chain of three 

with a single crochet. Make two chain stitches and four double crochets, all in the 

stitches, turn and catch the nearest loop in same hole. Then continue as in the first 

the shell with a single crochet as shown at scollop until the second scollo]) is com- 








FIGURE NO. 3. — DETAIL OF 

SECOND SCOLLOP. 



''MM^^^SM^^^^m 







FICiURE NO. 4. — CROCHETTED EDGING, WITH ONE 
ROW OF SCOLLOPS AND HEADING. 




FIGURE NO. 5. CROCHETTED 

SECOND ROW 

Figure No. 2. Then a chain of two stitches, 
and into the hole formed by the loop of 
eight stitches make lliree double crochets ; 
chain two stitches, turn and with a single 
crochet take up the remaining loop in the 
fifth shell of the first .scollop. Then make 



EDGING, SHOWING DETAIL OF 
OF SCOLLOPS. 

pleted, and make each succeeding scollop 
in the same way. Tliis wielth when pro- 
vided with a heading, such as is illustrated 
at Figure No. 7, and finished with an edging 
in the manner showm at Figure No. 4, is 
pretty for underwear, aprons, etc., and is 



NGeDLe-CF^AFt. 



119 



edged with a row of holes and loops as 
pictured at Figure No. 4. This edging is 
made as follows : when the last shell in the 
row is made, make a chain of eight stitches 
and turn ; then take up the fifth stitch in 
the chain, counting from the needle, with 
a single crochet, and make a chain of three 
and then a single crochet in the nearest 
loop in the shell. Repeat in each of the 
loops along the edge of the scollop. 

If a deeper pattern be desired, make a 
row of loops along the tops of the shells 











FIGURE NO. 6. — CROCHETTED EDGING, 

SHOWING TWO ROWS OF SCOLLOPS 

AND HEADING. 

by making nine chain stitches for the chain 
connecting the scollops ; eight chain stitches 
for the next loop, which takes up the first 
loop in the tliird shell ; eight chain stitches 
for the next hole, which takes up the first 
loop in the fourth shell ; eight chain stitches 
for the next loop, which will form the cen- 
ter of the scollop in the added row and 
is caught to the second loop of the fourth 
(same) shell in the scollop above ; then 
repeat these four loops all along the lace, 
as shown at the right end of Figure No. 5, 



before beginning to make the shells of the 
second row. 

The shells are connected in the same 
way as in the first line, and the finish is as 
described at Figure No. 4. The rows may 
be repeated until the lace is as deep as 
desired, and the method of making the rows 
for the second depth of the pattern is clearly 
shown at Figure No. 5. The lace com- 
pleted with the heading is shown at Figure 
No. 6. 

To make the heading : make a row of 
loops on the braid, using six chain stitches 
for each loop, and taking every third loop 
on the braid up with a single crochet ; 




iWWM'HlllWlStlllHiPIPfilPiliIIITifiJilH); 



FIGURE NO. 7. SHOWING DETAIL 

OF HEADING. 

then in each crochetted loop make four 
double crochets, a chain of three stitches 
and four double crochets. To complete the 
heading, make a sewing-on row of chain 
stitching, as shown at Figure No. 7 in this 
chapter. 

Crochetted Lace, with Braid Heading, and 
Method of Making It. 

Figures Nos. 8, 9, 10 and n. — This lace 
is crochetted back and forth on fancy braid 
that should be the length required for the 
lace. Begin by fastening the thread in the 
first loop of the braid; then make a chain of 
ten stitches and fasten in the second loop of 
the braid with a single crochet; make a chain 
of twelve stitches and fasten in the fourth 
loop (omitting one) with a single crochet; 



NeeDLe-ci^AFT. 



then make a chain of ten stitches and fasten the first loop, crochetting all the stitches 

in the next loop. off the needle at once for the first and 

Chain two stitches, fasten in the next loo]) twelfth crochet. Into the next loop of twelve 

ol the braid; chain two more and fasten in stitches make twelve double crochets, chain- 

the succeeding loop, and continue in this ing one stitch between the sixth and sev— ,th 







FIGURE XO. 8. 




way until you have tak- 
en up five loops. Chain 
twelve stitches and fast- 
en in the next loop; 
then take uj) five more 
loojjs, chaining t \v o 
stitches between every 
two loops. Chain ten 
stitches, fasten in the 
next loop, chain twelve 
and fasten in the next 



FIGURE NO. 9. 




FIGURE NO. 10. 



crochets, taking all the 
stitches off the needle at 
once for the first and 
twelfth crochets. Into the 
next loop of ten make 
twelve crochets in the 
same manner as in the 
first loop of ten, and fast- 
en with a single crochet 
into the adjacent short 
loop previously formed 
bv the chain of two. 



loop (omittting one), 

chain ten and fasten in the next, and Next chain seven stitches and fasten with 

so on for whatever length is required. a dubole crochet into the next large loo]). 

When this has been done, chain two stitches Now into this same loop make three double 

and fasten in the !i.st loop on the braid, crochets in the same manner and then two 

Turn, and make twelve double crochets in double ciochets, putting the thread over the 



NGeDLG-CRAFT. 



needle twice for each of the latter two and 
crochetting these two off. two stitches at a 
time. Chain six stitches, make two more 
double crochets, throwing the thread over 
the needle twice for each crochet and 
crochetting off two stitches at once as before; 
then make four double crochets into this 



Turn, and chain eight stitches and fasten 
with a single crochet between the sixth and 
seventh stitches of the last scollop made ; 
chain eight more and fasten with a single 
crochet between the sixth and seventh stitches 
of the center scollop ; chain twelve stitches 
and fasten with a single crochet in the 




FIGURE NO. II. 
Figures Nos. 8, 9, 10 and 1 1. — Grochelted Lace, and Detail of its Construction. 

loop in the ordinarj' manner. Chain seven same hole as the last ; chain eight stitches 

stitches and fasten with a single crochet and fasten with a single crochet between 

into the fourth of the adjacent small loops, the sixth and seventh stitches of the next 

Proceed by duplicating the processes employ- scollop ; chain eight more stitches and fasten 

ed in the first two parts of the design until with a single crochet in the large loop at 

the end of the braid is reached. Make a the center of the adjacent design. Chain 

chain of two stitches and fasten. ten and fasten with a single crochet into 



NeeDLe-ci^flFT. 



the same hole as the last ; chain twelve 
and fasten with a single crochet also into 
the same hole, and lastly, chain ten and 
likewise fasten into this hole, with a single 
crochet. Chain eight and fasten between 
the sixth and seventh stitcli cf the next suc- 
ceeding scollop and repeat the looping as 
for the first scolloji, continuing as before 
to the end of the braid, and fasten- 
ing. 

Turn and chain seven, fasten with a double 
crochet into the loop at the center of the 
last scollop ; proceed by making three other 
double crochets into this loop. Now into 
the same loop make two double crochets, 
throwing the thread twice over the needle 
each time and crochetting the stitches off, 
two at a time. Chain six and repeat the 
two double crochets with the thread thrown 
over the needle, etc., and follow by making 
four double crochets in the ordinary way. 
Then chain seven and fasten with a single 
crochet in the next loop ; chain three and 
fasten with a double crochet in the first of 



the group of three loops following. Repeat 
to whatever depth is desired ; and, having 
comjjleted the last row, make a chain of ten 
stit,ches, turn, and fasten into the nearest 
loop with a single crochet ; chain ten and 
fasten with a single crochet into the center 
of the chain connecting the two par ■^ of 
the design. Chain eight, fasten be:ween 
the sixth and seventh crochets in the first 
scollop, chain eight, fasten into the center 
of the next scollop, chain eight, fasten into 
the center of the next scollop, chain eight 
and with a single crochet fasten to the chain 
connecting the two designs. Continue in 
this way to the end of the braid. Turn, 
and into the loop last formed make three 
double crochets, chain five, make three 
double crochets, chain five, make three 
doable crochets, chain five and three more 
double crochets ; then with a single cro 
chet fasten into the center of the first 
scollop. Now fill the next loop in the same 
manner as the one just described and so 
continue along the entire margin. 



•»-:3»»^c( 







i-;s.i^Mf-^ 



NeeDLG-d^fiFT. 



123 




CHAPTER XXII. 



Gollars, Edgings and 'InsertiQn of Feather-Edged Braid, 




Child's Collar. 

[CURE No. I.— This fig- 
ure represents a pretty, 
round collar for a little 
boy or girl. It is made of 
Feather-edged braid cro- 
:hetted with fine thread, and 
is shaped to the neck by a cord with tassels, 
that passes through tiny openings a little 
below the upper edge. These collars bear a 
close resemblance to Russian point lace, and 
can be obtained at very reasonable prices at 
any of the fancy dry-goods stores : but will 
cost but a trifling amount, if the lady con- 
structs them herself. 

Child's Sailor Collar. 

Figure No. 2. — This engraving shows a 
pretty collar for a youngster. It is made in 
the sailor shape, and is crochetted with white 
cotton and feather-edged braid. 

Full Size of Scollops for Sailor Collar. 

Figure No. 3.^This engraving shows the 
details of the construction, which may be thus 
easily wrought out by any one accustomed to 
this class of work. The braid appears to be 
cut after forming the loops and points, but the 
row is really placed directly under the one 
seen in the engraving and is fastened there by 



the crochetted stitches, which are taken up 
through the loops of both rows. Colored 
cottons are sometimes used in making these 
collars, and for edgings designed for trimming 
gingham and seersucker dresses. When white 
thread is used, however, care should be exer- 
cised that the same shade is used throughout, 
as some is blue-while and some cream-white, 
and the result of their admi.vture is not pleas- 
ing. This difference is, of course, obliterated 
when the article is laundered ; but as consider- 
able wear may be obtained before washing 
becomes necessary, it is well to remember the 
caution to which we have just given expres- 
sion. 

Child's Fancy Collar. 

Figure No. 4. — This illustrates another 
pretty collar, for which the feather-edged trim- 
ming has been used as decoration. It is of 
the charming sailor shape and is made of 
linen ; but may be of Valenciennes or Torchon 
lace, or of pique ornamented about the edges 
with lace or embroidery. 

Trimming of Feather-Edged Braid. 

Figure No. 5. — " Feather-edged braid " is 
the basis of this pretty trimming, and cro- 
chet-work forms it into the graceful outlines 
illustrated. The design is easily followed, as 



124 



NeeDLe-ci^flFr. 



the engraving is very plain. ]W adding to every lady knows bow prettily this braid 





FiGLfRE No. I. — Child's *- oll.vk. 



KiGURE No. 2. — Child's Sailor Coll.^r. 




FinuRF. No. 3. — Full Sizk ok Scollops 
i-OR Sailor Collar. 



both edges a crochetted chain like the one at forms into trimming that is as durable as 
the upper edge, insertion is produced. Almost could be desired. 



NeeDLe-CRAFT. 



125 



Edging and Insertion. edging, except that a chain is added to both 

Figures Nos. 6 and 7. — An edging and an sides instead of one. For children's dresses 

insertion formed of crochet worl; and feather- cardinal, pale-blue or pink cotton may be used 




Figure No. 4. — Child's Fa.\cy Collak. 




Figure No. 5. — Trimming of Fkatiii-r-Euged Braid. 




I^^B 




jpn 


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Ml 


1^^ 


um<<4 

m 


'^M^^ 


7 «»■)■»•»»>* 


H>?>»?»»y»?» "> 7^ ''''^^v 


?»»»>»»?■> >^> 



FiGURK No. 6.— Design for Edging. 



Figure No. 7.— Design for Insertion. 



edged braid are here illustrated. The en- for the crochet part, but white is selected for 
graving explains the details better than all other purposes, because of its harmony 
words. The insertion is made just like the with all lints. 



126 



NeeDLG-CRilFr. 



I* 

** 

I ♦ 
. * 



************* ** 1 

*_*_*_* Jr_* *_* *** *** I # 



*************** 
* * * *********** * 



Baiicy Q.[all-Pockets. 



A PRETiv wall-pocket, large and strong 
enough to hold trifles that one desires to 
keep, is made as follows : Take a shallow 
paper box that is square or nearly so and 
from the cover separate the edge which slips 
over the box proper. Finish the margin with 
a fancy cord or with a binding of velvet or 
plush, and then run narrow ribbons through 
corresponding holes made in both the box 
and cover, tying them so as to bring the two 
portions together at the bottom and leave 
ihein far enough apart at the top to permit of 
inserting whatever the pocket is intended to 
hold. Suspend it by cord or ribbons to a 
fancy-headed tack. A box that has a pretty 
picture on the top or is covered with fancy 
paper may be utilized for this purpose with 
pleasing results. If the edge of the cover is 
very shallow it need not be removed. 

Two flat pieces of Bristol board may be 



joined by gore-shaped pieces of plush, velvet 
or strong fancy paper, and upon that which 
is to form the front may be neatly gummed a 
p irtiait of some celebrity, such as is often 
published in the best illustrated periodicals of 
the day, or a small landscape engraving, which 
may be obtained from the same source. A 
band of ribbon velvet or of velvet paper, in 
some rich tint, forms a pretty framing, and a 
fancy cord provides a neat bordering for all 
the edges and also the means of suspension. 
If the board be strong enough and the deco 
ration artistic, a very durable and pretty 
pocket may be thus made at a trifling ex- 
pense. Scraps of velvet and tinsel paper, 
and the numerous varieties of wall paper 
in art tints which may be left over from 
making borders, friezes, dadoes, etc., may 
be utilized for such articles with good re- 
sults. 




NeeDLe-CHAFf. 



127 




CHAPTER XXIII. 



MAGRAME LAGE W0RK 



^m 



lace seems to have held sway 



v\^" ■ over the human affection for 
W 'iS ■'"''"gs beautiful. The Egyptians, 
{']lp/k fvomans, Israelites, all indulged in 
'^^^ the luxury of lace embellishments ; 
and many of the beautiful laces 
which appear quite modern to us are revivals 
of those of ancient days. 

Among the most easily made laces, and 
one that, owing to its simplicity of formation, 
is within the reach of rich and poor alike, is 
that called Macrame. This lace is formed 
by knotting threads together, and many and 
beautiful are its patterns. It may be used 
in beautifying the toilette of my lady, and 
also in making lovely her boudoir, her parlor 
or her sitting-room. Lambrequins, table-cov- 
ers, whisk-broom holders, shopping-bags, 
game-bags for the sportsman, shawl-cases 
and bags for the traveller, hammocks, etc., 
may all be made of this handsome lace. 

By studying these engravings and follow- 
ing closely the accompanying descriptions, 
success will surely attend those who seek to 
unravel its mysteries. 

The requisites for making the lace are a 
desk, pins and cord. The desk, with the 
pins, may be purchased ; but a lady of ingenu- 



ity can easily make one for herself in the 
following manner : A smoothly planed board, 
about tweniy or twenty-five inches long and 
twelve or fouiteen inches deep, with nicely 
rounded edges, is the first requirement. 
Cover the upper side of the board with several 
layers of flannel or cloth, drawing all suf- 
ficiently taut to avoid wrinkles, and securing 
them perfectly so that not a wrinkle will 
rulifle the surface in the working. If the 
regular pins cannot be procured, small nails, 
carpet tacks or stout common pins may be 
used. Arrange the pins at equal intervals 
across the upper edge of the desk, and also 
at the ends wherever cross-threads are to be 
fastened. 

Tying cord and softly twisted fishing cord 
are sometimes used, and so also are the 
coarser threads in white or delicate tints 
either singly or combined. The finer the 
thread, however, the closer the pins should be 
placed. The cord or thread usually employed 
is known as the " Macrame," and may be 
obtained in fine and coarse, as well as in 
medium grades. 

Attachment of the Threads. 

Figure No. i. — This engraving illustrates 
how the threads are attached and the work be- 
gun. After arranging the pins according to pre- 



128 



NeeDLe-CF^flFT. 



vious instructions, fasten two threads of equal 
lengtiis about the pins as shown by Figure No. 
1 — A. Then tie them in a single knot, as 
shown by Figure No. i — 13, and in a second 
knot as shown by Figure No. i — C, to pro- 
duce an ordinary double knot. Now arrange 
a cord across the desk, tying its ends securely 
to pins fastened in the ends at a depth 
sufficiently low to permit the cord to cross 
over the threads and just below the double 
knots. Then proceed as in Figure No. i — D, 



It is not unlikely that even as early as this 
stage of the work the hands will feel the 
effects of drawing the cord, especially if it is 
of the firm, hard, twisted variety, and to the 
novice the advice not to attempt too much 
without permitting them time to recover, may 
be given. There is a knack in handling the 
cords so as not to cut or chafe Ihe hands, and 
until it is acquired many ladies protect the 
palms and fingers by w'earing old gloves, from 
which the tips of the fingers have been cut. 




l-A. l-B. l-C. l-D. l-E. l-F. l-G. 



Figure No. i. — Attachment or the Threads. 



commencing with the first left-hand thread, 
bringing it ov'er the cross-thread and under 
toward the left, as illustrated ; using the same 
thread to tie the knot as illustrated at Figure 
No. I — E, drawing this thread very tightly, 
and producing the double coil as shown in 
Figure No. i — F. Tiien take up each of the 
succeeding threads in a similar manner, pro- 
ducing the result seen in Figure No. i — G. 
This completes the first unbroken cross-line 
cord from which the next stitch is worked, 
as shown bv Figure No. 2. 



The work is not retarded by such a course, 
indeed it is advanced, because the hands thus 
protected can w-ithstand the influence of con- 
stant friction from the material. It may not 
be amiss to add that if before beginning lace- 
making each time, the hands are bathed in 
warm water, and while still moist, rubbed 
with cold cream, or wliatever emollient ex- 
perience has proven best adapted to them, 
the cuticle will be less liable to lireak 
beneath the tension of a cord drawn too 
quickly or too lightly. 



NeeDLs-ci^fiFr. 



Diagonal Pattern. 
Figure No. 2. — This illustrates the diago- 
nal pattern, which in this instance is produced 
by the use of twelve threads. Selecting the 
first thread at the left as the leader or the 
thread over which the others are to be 
knotted, take up the ne.xt thread at the right, 
and tie it over the leader as seen at figure 
No. 2 — A, and draw it closely as directed for 
the cross-lines. Then take up each of the 
four succeeding threads separately, and con- 
tinue with each in a similar manner, produc- 



No. I — F, the result of which is also shown at 
Figure No. 2 — D. 

Although this may be properly termed only 
a preliminary to more elaborate patterns, it is 
in itself a very pretty and effective design and 
it is especially adapted to the embellish- 
ment of such articles as are constructed with a 
view to showing some delicate and bright color 
through its meshes. As it does not however 
permit of running ribbons into the heading it 
is less in favor than some others for decorat- 
ing articles for which an elaborate finish is 




fU ,'^^ P 

f% f\% 0^.^ 





2-A. 



3-B. 2—V. 

Figure No. 2. — Diagonal Pattern. 



ing the first diagonal pattern as shown by 
Figure No. 2 — B. Then again, take the left- 
hand thread as the leader, and proceed with 
the succeeding five threads as already de- 
scribed. Then take the right-hand thread 
of this cluster of twelve threads already 
selected, bring it over the five at the left 
nearest it ; then take up the first of these five 
threads nearest the leader, and knot it over 
the leader with a reversed knot, as illustrated 
in Figure No. 2 — C. Then proceed as directed 
in Figure No. 2 — B, producing the result as 
illustrated at Figure No. 2 — D. Below this 
arrange another cross-thread, over which tie 
each thread, as directed for the first at Figure 



required or desired. It is however commend- 
able for the ease with which it may be fresh- 
ened by the most simple laundry process. 

All macrame' lace may be renovated by 
washing it in water in which a little soap and 
bora.x have been dissolved. The dust should 
be shaken from it before it is wetted and it 
should be moved up and down vigorously 
after being allowed to soak for some time. 
Several rinsings and a thorough squeezing 
are in order, and before it is hung to dry it 
should be well shaken. When dry the pattern 
may be drawn into shape with the fingers and 
the fringe clipped to give it a fresh and attrac- 
tive appearance. 



13° 



NeeDLG-cp^AFT. 



Tape or Braid Pattern. 



and proceed with the same stitch to produce 



l''i(:i.ri-!E No. 3. — This ilkistrates the tape the effect as shown by Figure No. 3 — C, below 
or braid pattern, which in this instance is wliich attach a third cross-cord, 
formed by selecting clusters of four threads 



•mtwtt 




-».«.» 



3-A. 3-B. 3-r. 

FrnURE No. 3. — ^Tape (jr Braih Pattern. 

each. Of these clusters take the middle two Lace Pattern. 

threads, over which knot the outside threads, Figure No. 4. — This illustrates the lace 

disposing of the first as in Figure No. 3 — A, pattern. Separate the threads into clusters 





4— A. 4-B. 

Figure No. 4. — Lace Pattern. 
drawing it closely to the cross-thread and of four, and tie a double knot over each of 
again tying the same two threads, as seen in the middle two of the clusters, as illustrated 
P'igiue No. 3 — B, also drawing this tightly ; at Figure No. 3 — B, to form the heading or 



NeeDLe-ci^iiFT. 



'3' 



commencement of the pattern. Then leave 
the two threads at the left, and take up the 
next four, over the middle two of which tie 
the two outer threads, as illustrated at Figure 
No. 4 — A, continuing this method as a second 
line of knots across the length of the desk. 
Then, taking up the two threads at the left, 
which were dropped at this row, take the two 
next to the right, to form a cluster of four ; 
then proceed to tie the first knot in the third 
row, combining the same to produce the nec- 



tlie tape pattern as illustrated in Figure No. 
3 — C, to the amount of nine knots or stitches. 
Then take the two leaders, bring them up 
over the tape, insert them through the space 
between the lower diagonal cords, and draw 
the ends of the tape closely to the first stitch 
of the same, as seen at Figure No. 5 — B. 
Then, take the two working threads or cords, 
bringing them outside the commencement 
of the tape pattern, and tie them around the 
two leaders in the double knot to make the 




5-A. 



5-C. 



Figure No. 5. — Tape or Braid Knot. 



essary depth of this pattern, the completed 
result of which is shown at Figure No. 4 — B, 
which also discloses the fourth cross cord. 
Tape or Braid Knot. 
Figure No. 5. — This illustrates the fifth 
pattern in the series, the first arrangement 
of which is produced as in Figure No. 2, but 
discloses three diagonal cords, instead of two, 
with the tape or braid knot introduced, the 
production of which is attained as follows : 
Select the middle four threads of this double 
cluster of the diagonal pattern, and compose 



fastening, and complete the tape knot, as 
shown at Figure No. 5 — C, which also dis- 
closes a second line of diagonal cords, made 
as follows : Take the twelve threads, and 
work each of the six outward from the knot 
to complete this section of the pattern, which 
is divided by the fifth cross-cord from the 
tassel fringe that completes the series. 

It is always best to use the same make of 
cord throughout for each piece of lace as 
different makes are apt to vary in closeness of 
twist or some equally important jarlicular. 



132 



NeeDLG-ci^AFr. 



Tassel Fringe, for Finishing Macreme Work. The knots or stitches described are among 

Figure No. 6. — This illustrates the con- the simplest varieties, and by the exercise of 

struction of the tassel fringe : Select twenty- a little ingenuity on the part of the lace 

four of the threads at the left iiand and divide maker, manv beautiful results and quite an 




Figure No. 6. — Tassel Fri.nge, for Fi.nishinc Macrem^ Work. 

them into two groups of twelve threads each, assortment of \ery pretty patterns will be 

Then subdivide each of these groups into obtained. It would be well for the worker to 

three clusters of four threads each, and pro- remember, however, that every thread should 

ceed to knot them as illustr.nted. 'I'his forms be knotted twice, and that the knots or stitches 

the heading. Then untwist and comb the should be tightly drawn, to keep them from 

threads below the last knot, to form a light, slipping during the progress of the work or 

liuffv tassel. afterward. 



NeeDLe-CRfipr. 



^33 



r?^st||*^stssf$^?^ 






CHAPTER XXIV. 



FRINGES AND THEIR G0NSTRDGT-10N. 




worsted on the section, as shown by Figure 
No. 3, being careful to put the needle back 
in the place where it comes through till the 
thread comes out at the starting point ; then 
cut the worsted all around the edge of the 
section, and tie the thread run round the hole 
as tightl}' as possible. The manner of put- 
ting in the tvin;;- thread and cutting the 






Ball for Tassel Fringes, etc., and Method of 
Making It. 

JT^^^'y^^^i^IGURES Nos. I, 

' K_J i '' 2' ^^^ 4-— I" 

making the ball 

illustrated at fig- 
ure No. I, worst- 
ed of any variety 
may be used in 
single colors or 
in two or three shades as preferred. First 
cut from card-board a circular piece about one 
inch in diameter, and cut a large hole in the 
center; run the worsted in and out through 



Figure No. z. 

worsted is shown at Figure No. 3, and the 
manner of tying the thread when the worsted 
is cut is shown at Figure No. 4. After cutting 
the worsted, pull it through the hole at one 
side ; clip the threads evenly and closely with 
a sharp scissors, rolling the ball between the 
palms of the hands to shape it : then shake 
the hole, about the solid portion of the sec- it well. The balls may be made any size 
tion, as shown by Figure No. 2, until the sec- desired by increasing or decreasing the size 
tion is very thickly and uniformly covered, of the card-board section upon which the 
Then run a thread of the worsted under the worsted is wound. Many persons make the 





Figure Ni_ 



134 



NSeDLe-CI^AFT 



balls by winding ihe worsted in and out be- shown by Figure No. 5 may be used entirely 
-tween the prongs of a fork and tying the as lambrequins or as edges for them, or they 





Fku'rk No. ■;. 



FuuiKK No. 4. 



entire mass through the center. The cutting, may edge table-scavfs, chair-scarfs, work- 
clipping, rolling, etc., is the same as that baskets, etc. The niei hod of constructing the 




I'Kil'RE No. 5. 

directed for the balls just described. The balls for these fringes is illustrated at Figures 
effect of the balls made in fringes is shown at Nos. 2, 3 and 4. Worsteds of all varieties 
Figures Nos. 5 and 6. mav be used in making such fringes, and the 




Styles for Ball Fringes 



FlCURK No. 6. 

Figures Nos. 5 and 6. — Styles for Bali. Frij.oes. 

balls may be of one color or may show two or 



Fii;fRES Nos. 5 AND 6. — Fringes made as three-colors, as preferred. 



NeeDLe-CRAFr. 



135 



Knotted Fringes. 
Figures Nos. 7, 8 and 9. — Three different 
ways of .knotting fringes are here shown. 
The fringe is formed by ravelling the ends of 
the article to be so completed, quite deeply, 
separating the fringed part into clusters of 
equal numbers of threads and then knotting 
them in any of the ways illustrated. Ii it be 



Bag for Soiled Clothes. 
Figure No. 10. — A very useful article is 
pictured in this engraving. It may be made 
of towelling, duck, crash, linen, canvas or 
any similar fabric. The section, which should 
be more than twice as long as it is wide, is 
folded up quite deeply, and the edges are 
seamed togeiher. I'he top is then folded over 




f-li.l-KL .\' 



Fu.rkE Xij. 9. 



Figures Nos. 7, S and 9. — Knuiteu P'ki.nges. 



not desirable to ravel the edge of the article, 
threads of silk, floss, etc., may be run through 
the edge until a heavy fringe is formed, and 
similarly knotted. Fringe, knotted in the 
manner represented at Figure No. 9, is used 
in decorating the bag pictured at Figure No. 
10 in this chapter. 



a rod in cover fashion, and to the ends of the 
rod are attached the suspending ribbons. 
The edge of the cover and the lower end of 
the case are trinuned with fringe, and a little 
above the fringe are applied, with herring-bone 
or other fancy stitches, strips of ribbon that are 
embroidered along the center with daisies or 



136 



NeeDLe-CRAFT. 



other flowers. If a fancy ribbon be used the ornamented with simple designs done in out- 
application stitches only are necessary. The line stitch ; or such a bag may be made of 
fringe is made of a strip of the material, fringed towels having colored borders. 








Fioi'Rr. \u. 10. — liAi; i-uK SoiLtu Clothes. 



out and knotted tea depth sufficiently effec- Tassel for Fringes, etc., and Method of Making 

live for a heading. Various styles of knotted • 

fringes are illustrated elsewhere in this Fir.i'RF.s Nos. 11, 12, and 13. — In making 

chapter. As a bag devoted to the jjurpose the tassel sliown at Figure No. 11, many 

for which this is constructed is itself apt to strands of wool, floss or embroidery silk are 

need laundering occasionally, the ribbon deco- laid evenly and thickly together. Then a 

ration may be omitted in favor of linen bands piece of pretty silk cord or of the tassel 



NeeDLe-ci^AFr. 



137 



material is tied arouiul the middle of the passed under and over the mesiies of the can- 
bunch, as shown by Figure No. 12. I'hen the vas in the manner depicted in the engraving, 
bunch is doubled and tied around in the man- the point at which each strand passes under 
ner illustrated by Figure No. 13, the worker and over the canvas being calculated by count- 
tying it as tight as possible. Such tassels ing the bars in the fabric. A regular grada- 
may be sewed along the edges of lambrequins, tion, which is one of the chief charms of the 





Figure No. 12. 



P'kuires Nos. II, 12 AND 13. — Tassel for 
Fringes, etc., and Method of Making It. 




Figure Ni 



Figure No. n 



table-covers or scarfs, to make a heavy, hand- decoration, is thus obtained. The threads 
some fringe ; or they may be fastened to of canvas which are thus brought over the 
cords to be used as festoons or other decora- 
tions. The material used for the tassels may 
be left in the natural state, or it may be care- 
fully combed out. When used as decoration 
for the ends of cords, the cord should be used 
for the tying illustrated at Figure No. 12. 
Such tassels are often utilized in making 
fringe. 

Fancy Fringe. 

Figure No. 14. — This fringe is easily made 
and is effective as a finish to portieres, shelf- 
draperies or any hanging requiring such a 

completion. The foundation is canvas, and worsted are concealed and the beauty of the 
the fringe itself is formed of worsted in two fringe enhanced by making a stitch of silk 
shades cut in graduated lengths, as indicated directly over each thread of canvas visible 
by the engraving. Each strand of worsted is upon the surface. The engraving explains the 



it 

■Vr 


jM 




^f" 


i|;;i;;;;;:; 






w^ — 






f' ''lliiilif'""t 




1 




II 


1 ' IHkS' 




in ' liliHzi: — 








It liDnBi — X 
















m 


"rTfr 


I'Ri^l- 



Figure No. 14. — Fancy Fringe. 



>38 



NeeDLG-ci^AFr. 



process so clearly that elaborate instructions 
regarding its details are unnecessary. It may 
be suggested, however, that the worsted is 
most easily slipped under the canvas by 
threading a canvas or embroidery needle with 
it, and that the fringe is renderml more firm 
looking by making each silk stitch thiough 
a half square of the canvas instead of merely 
around the mesh that crosses tlie worsted 
strand. Several shades of color or several 
contrasting colors may be united in a fringe 
of this style. The canvas may be trimmed off 
far enough from the ends of the strands to per- 
mit of their falling free, and the spaces 
between the irregular lengths may be filled in 



the width of the section depending somewhat 
on the thickness of the worsted used. A bit 
of pasteboard or, what is better still, a smooth 
match-shaped b'n of wood is then laid in the 
center of each section and a needle threaded 
with worsted is passed through the meshes 
nearest it on one side, brought to the surface 
tlirougii tlie corresponding ones on the other 
side, carried over the wood to the opposite 
side and passed under and over in this way 
for the length of the enclosed section. The 
process is repeated through the next succeed- 
ing row of meshes or openings on each side 
and so on until one half the space on each 
side has been worked over. The process is 




P'iGURE No. 15. — Fancy Ukauinu i-or Fki.nge. 



with any variety of embroidery stitch adapted 
to the te.xture. 

Fancy Heading for Fringe. 

Figure No. 15. — Although the title denom- 
inates this as only a fancy heading for fringe 
it will quite as often be developed as a border 
for shelf draperies and other hangings. or as a 
finish for fancy rugs. The foundation is can- 
vas, the fineness or coarseness of the mesh 
being decided by the variety of worsted chosen. 
The thick, fuzzy pile is produced in the follow- 
ing manner : The canvas is marked off into 
narrow bars or sections by rows of stitching as 
indicated at the right side of the engraving. 



clearly delineated by the partially completed 
bar shown in the engraving, the needle being 
passed under a thread of canvas in the act of 
bringing the worsted from one side to the 
other. When all the canvas has been w-orked 
over a pair of sharp-pointed scissors is needed 
to cut the stitches as they lie upon the bit of 
wood, and care should be taken to insert the 
lower blade so as to cut them evenly. When 
thus cut they will form the short thick pile 
represented by the left end of the engraving. 
Two or three colors, or several shades of the 
same color may be combined in this variety of 
work witli tasteful results. Such a border 
foriTis a handsome finish for a portiere of 



NeeDLe-ci^iiF 



1. 



139 



billiard cloth or for one of tapestr\' embroidery. 
Made of very thick worsted or carpet ravellings 
it would be very effective about a rug. Of 
course such a finish would not be desirable for 
rugs that were to be subjected to constant use, 
but for the long narrow ones which look so 
well under mantels it would be quite suitable. 
If a fringe finish were in order one like that 
pictured at Figure No. 14 might be developed 
with especially harinonious results. 

Drapery Fringe. 

Figure No. 16. — This fringe is one of the 



graduating their distance apart by estimating 
how large a diamond shape they will form 
when brought together for the first row of 
lattice work. After they have all been 
attached begin to form the lattice work by 
bringing the corresponding cords together as 
if they were to be netted, but instead of knot- 
ting them fasten them securely with a few 
stitches done with a needle and thread ; care 
is necessary in this part of the work that they 
be not lapped nor stretched but simply brought 
together and fastened. In this way make as 
manv rows of the lattice or diamond work as 




Figure No. 16. — Drapery Fringe. 



easiest for the home decorator to make and 
one of the most effective which she can employ 
in the ornamentation of any furnishings wiiich 
require or suggest such an addition. It is 
made of silk cord and in attempting its con- 
struction it is best to start with a correct idea 
of how long a piece of fringe is needed. 
When this is decided upon procure a piece of 
tape or gimp of the same length and as much 
silk cord as the quantity required suggests. 
Cut the cord in lengths corresponding with 
the depth the fringe is to be when finished 
and attach the sections to the tape at intervals, 



are desired and finish the lower row by bring- 
ing the ends of contiguous cords together and 
fastening them so as to permit of tying tassels 
over them. Wherever stitches have been 
taken twist bits of chenille or finer cord, and 
when the fringe is applied tack a row of moss- 
heading or fancy gimp to conceal the founda- 
tion. Fringe of this style is used to drape 
very e.xpensive furniture, to form mantel lam- 
brequins, and for a variety of purposes sug- 
gested by its beauty. The engraving does not 
give a good idea of its rich effect, but any lady 
who has observed the beautvof such a decora- 



140 



NeeDLG-CRflFT. 



tion can readily obtain from it the requisite 
insight into its construction. Tlie ends of the 
cord may be allowed to hang free so as to tip 
each one with a tassel, or they may be grad- 
uated in length, and finished with tassels of 
different colors. 

Fancy Fringe. 
Figure No. 17. — A dainty fringe, suitable 



of crochetted loops, which are done in chain 
stitch and attached along its lower points. 
The second row of crochetted loops are much 
deeper, and each one forms a tiny circle at 
its lower extremity. The arrangement of the 
ribbon, which is of the narrow purl-edged 
variety, is clearly explained bv the engraving. 
Tlie upper row is tacked securely to the edge 




Figure No. 17.- 
for finishing a chair or bureau scarf or any 
article requiring an especially pretty and deli- 
cate completion is here illustrated. The 
engraving suggests the manner of its attach- 
ment, the plain upper portion representing the 
article to be finished, l^pon it is worked with 
rope silk a pretty design which is clearlv por- 
trayed, and apparently supports the first row 



-Fancy Fringe. 

of the fabric at every third crochetted loop, 
and the lower rows are knotted through the 
little circles, a brass ring being slipped on the 
ribbon before it is knotted each time. The 
irregular lengths of the lower ribbons are ob- 
tained by skipping every alternate ring when 
the first row is inserted, and taking the omitted 
ones up when the second row is arranged. 



NeeDLe-CF^AFT. 



141 



, f^^g^;^g-;<g^-^7|^y^g^->;£;^-;;2^:;:S^l4 



N^^ 



-■>g^--^;^|::|j^-^^-'-->^-^t». 



CHAPTER XXV. 



0RNAMENTAL PQRT-IERES. 




MONG the most beautifj'ing 
adjuncts to the furnishings 
of a house or apartment are 
draperies and hangings 
iiarmonizing with the gen- 
eral tone of the upholstery. 
Very often it is such hang- 
ings which give to an other- 
wise cold appearing interior its most cheerful 
and satisfying effect. 

When it is practicable to remove doors 
that do not slide in panels it is always 
well to do so, but as it is not always per- 
missible to do this a few suggestions regard- 
ing the ne.xt best course may be of value. 

When a uniformly good effect from both 
sides is desired, hang the curtain from a pole 
set in sockets screwed into the casing, midway 
between its inner and outer edges, instead 
of upon brackets at either side. If it is 
an arched opening let the pole go as high 
as it will, and have the curtain only long 
enough to extend from it to the floor, unless it 
be arranged to drape in some artistic fashion 
above the pole, which may be accomplished 
in a variety of pretty ways, one that is very 
easily developed being arranged by means 
of a gilded rope and rings which screw into 
the top of the casing. The rope is passed 



through the rings and enough slack allowed 
to permit of throwing the top of the hanging 
over it; a few stout pins will maintain this 
portion in position, but a curtain thus 
arranged does not permit of being drawn 
out of the position in which it is hung. 
It is not therefore an advisable disposal 
for d.oorways which must sometimes be 
entirely screened. A pretty device for fill- 
ing in the space above a pole thus placed 
consists of Japanese fret-work, which may be 
purchased by the foot and fitted to any 
outlines. It may be gilded or finished 
in any other way desired, and is in itself very 
attractive. 

After any hanging is adjusted care 
should be taken not to draw it out of 
its plaits or cause it to sag by careless hand- 
ling. A dexterous movement will suffice to 
draw a heavy drapery which refuses to 
yield to misapplied efforts, and as rings and 
all the other fixtures required for perfect man- 
ipulation may be procured at a moderate out- 
lay there is no reason for an unsatisfactory 
disposal or an unsightly appearance. 

Among the materials which are utilized by 
people of artistic tastes who are not deterred 
from asserting their fancies by dread of being 
miconventional, are plam ingrain carpetings. 



142 



NeefiLG-CHAFr. 



These goods are woven in a variety of colors or they may be worked through on canvas, 

and drape handsomely. which may be withdrawn, thread by thread, 

Embroidered Portiere. when the embroidered figure is completed. 

Figure No. i. — The elegant portiere here The natural colors of the flowers should be 

shown is made of Gobelin-blue plush, richly copied to achieve the desired result. Felt, 




ll'.lKK ,\ll. I. — KMIUiOIDKKK.H roKriKKl-. 



embroidered with detached sprays of dififerent cloth, salin or any preferred plain material 
kinds of flowers, with their special foliage, may be used instead of plush, with handsome 
The designs may be en applique if preferied, effect. 



HeeDLe-ci^AFT. 



143 



Handsome Portiere. 
Figure No. 2. — This engraving illustrates 
a sumptuous door-drapery of crimson plush. 
The curtains are embellished near the top 
with a large Horal design en appliijiic, and small 
detached flowers and leaves en applique' are 
strewn all over in an apparently careless but 
carefully studied manner. The rod is ebony, 



in raw silk, satin, cretonne or any suitable 
curtain fabric, the material being usually 
selected to accord with the furniture of the 
rooms. 

Instead of the decoration illustrated an 
effective design in fruits or flowers or in 
geometrical or other conventional outlines, 
might be applied by a lady who is clever 




Figure No. 2. — Handsome Pokiierf. 

and above the curtain is a smaller rod, from with the brush. Lustra-painting is a most 

which a width of plush droops in a handsome beautiful means of ornamenting such a 

festoon at the center, the ends being thrown drapery. 

artistically over the curtain rod. Cord and 

heavy tassels drape the curtains back, and Decorated Portiere. 

a lining of crimson satin is added both to Figure No. 3. — This handsome portiere is 

the curtains and to the lambrequin drapery. made of China silk, and is rendered very rich 

The same effect in drapery may be achieved and elaborate by four bands of velvet which 



144 



NeeDLe-CF^AFT. 



cross the bottom, the lowest band being about is achieved with fancy stitches done wiih 

a quarter of a yard wide and the other three vari-colored flosses. The curtains are attached 

about one-third as wide. The wide band is to brass rings run over a brass rod, and may 

enriched along its lower edge with plush ball- be tied back with wide ribbon or allowed to 



Lji«IIIIkrai<t:i<MlMrll«UiltliMltitli,UiHiiil 



Woii!ii!rw 




Figure No. 3. — DF.coRATF.n Portiere. 



ornaments and a handsome appliqu^ design, fall loose, as preferred. Sateen, damask, 

the applique decoration being selected from cn'toinic or any fabric may be similarly 

among a variety of silk-embroidered appli- embellished. Japanese silk, which is now 

quds. Between the narrow bands a rich effect procurable in a great variety of artistic tints 



NseDLe-ci^AFr. 



145 



makes a pretty portiere for an upper room. lambrequin effect is achieved by a facing of 

So does scrim and prettily figured madras. velvet cut in fancy tabs at the bottom, each 

Portiere for Bock-Case. tab being decorated with an embroidered 

Figure No. 4. — The handsome portiere medallion. A deep band of velvet faces the 




Figure No. 4. — Portiere for Book-Case. 



here illustrated is made of Turcoman silk bottom of the portiere, and from its top 
and suspended with rings on a brass rod. A depends a row of Turkish fringe. Above the 



146 



NGeDLG-CF^AFT. 



band is a row of velvet discs that are curved pretty. Tiie rod is suspended below the 

out at one side and arranged to appear as arch. The material used is pongee silk on 

if tliev overlapped, a row of fine cord edging which acorns and oak leaves are applied in a 

them. A row of cord also borders the edges most effective manner. The shapes of the 

of the lambrequin-like facing. Plush, silk, acorns and leaves are shown in the correct 

reps, etc., may be used for such portieres, with sizes at diagrams A and B. The leaves are 




Figure No. 5. — Poktieke eoi; an Ai 



some pretty contrasting material for the cut from i)lush or velvet of an olive shade, 
bands, discs and facings. and the upper parts of the acorns are olive 

and their low^er parts of golden brown plush. 

Portiere for an Alcove. 'j-^.q shades of brown may be used for the 

Figure No. 5. — The pictured method of acorns, and bronze, green and olive for the 

arranging portieres for an alcove is new and leaves. The acorns are applied all over the 




DiAfiRAM A 



Diagrams A an 



D B.-OutlIne of Acorn and Leaf for Decorated Porti^re-Full Size. 



148 



NeeDLe-CRflFT. 



curtains at intervals with invisible stitches, 
and the leaves are arranged to form a graceful 
border across the top. The effect is very rich, 
and the tones of the plush and the pongee 
form a wonderfully beautiful combination 
of color. The leaves are veined with em- 
broidery silk or floss in Kensington outline- 
stitch. 



acorns may be used as effectively as on the 
portiere, and they may be cut from cloth, 
flannel, velvet, plush, silk, satin, etc. 

Embroidered Portiire. 

Figure No. 6. — This portiere, suitable for 
doorway or embrasure, is illustrated as being 
on a cabinet, for which it is particularly well 



jiililiFlM tilling 




Figure No. 6. — Emuroidered Portiere. 



Outline of Acorn and Leaf for Decorating 
Portiere. 
Diagrams A and B. — These diagrams show 
the correct shapes and sizes of the acorns and 
leaves used in decorating the portiere pic- 
tured at Figure No. 5. The veining of the 
leaves is done in outline-stitch with flosses or 
silks to harmonize with the shade of the mate- 
rial from which they are cut. For table-scarfs, 
chair-scarfs, lambrequins, etc., the leaves and 



adapted. It is of bronze felt, embroidered 
in many colored flosses in set patterns and 
finished at the lower edge with a broad band of 
crimson plush. Brass rods and rings are used 
for the moimting, though, if preferred, ebony or 
wood matching the cabinet might be substi- 
tuted. Cloth, flannel or any fabric in use for 
portieres may take liie place of the felt, and the 
border may be of silk, satin, velvet or any mate- 
rial decidedly contrasting in color and ciualitv. 



NeeBLG-CI^AFT. 



151 




CHAPTER XXVI. 



MANTEL liAMBREQUlNS AND DRAPERIES. 




»HE rich and handsome lambre- 
quin, shown on the following 
page may be used for the man- 
tel, the window, etc. In the 
making of the fringe, odds and 
ends of zephyr worsteds, em- 
broidery silks, flosses, crewels, 
etc., may be utilized ; but the 
one variety of material must 
be used throughout, although it may be in 
many colors or shades of one color. Very ele- 
gant fringes may be made by commencing 
with the lightest shade of the selected color 
and grading the rows to the very darkest. 
For instance, taking the gold shades, begin 
with white and shade down to the deepest 
orange ; for the red shades, begin with the 
lightest pink and shade down to the deepest 
crimson; in blue, purple, green and gray the 
same method of shading may be pursued. 
Shading from light to dark is more effective 
than from dark to light, but either method 
may be followed. If the fringe fabric has 
to be purchased, it will probably be well to 
know that in shading from light to dark, the 
second shade will need to be double the 
amount of the first, the third three times that 
of the first, the fourth four times that of the 
first amount, and so on. Brass rings of any 



preferred size may be used, but they should 
all be alike. Small rings may be covered 
with embroidery silks or flosses, but for large 
rings this would be a very expensive covering, 
so crewels, zephyrs, worsteds, Saxony yarns, 
chenilles or any of the thick embroidery 
goods may be used. For brackets or small 
lambrequins the small rings are prettiest. 
Rings may be made of ordinary thick 
wire, if the rings cannot be readily pur- 
chased ; but care should be taken to have 
them perfect in shape, otherwise they will not 
look well. The tassels may be made at home, 
but, as they are not expensive, they are gen- 
erally purchased. Full directions for cover- 
ing the rings are given and the method illus- 
trated at Figures Nos. 2, 3, 4, 5, 6 and 7. 

Mantel Lambrequin. 

Figure No. i. — This lambrequin is made 
of heavy reps, and decorated above the lower 
edge with an embroidery design of pansies 
and leaves. The embroidery decoration may 
be selected from manufactured appliques or 
the lambrequin may be painted or embroi- 
dered by one's self, the outline of a portion of 
the design being given at Figure No. 8. The 
method of making the fringe is illustrated and 



152 



N€e0Le-CRAFT. 



described at Figures Nos. 2, 3, 4, 5. 6 and 7. tlie worsted about the ring, as represented by 




FiuiKt No, 1.— Mantel LAMiiKEociN. 

Tlie tassels are heavy and large, and are sus- Figure No. 2. With a crochet hook catch the 
pended from and high up between the fringe worsted, as shown by Figure No. 3 ; draw the 




points. The lambrequin may be of any color worsted under the ring, and throw the 
and of any preferred material, and the worsted over the needle as shown by Figure 
embroidery may be of any pattern desired. No. 4; and crochet the loop ot^' the needle as 





Figure No. 3. 



Figure No. 4. 



Method of Making Fringe Illustrated at Figure shown by Figure No. 5. Make single crochet 

No. I. stitches in the same manner all round the 

Figures Nos. 2,3. 4, 5,6 and 7. — Fasten ring, until the latter is well covered. An illus- 



NeeDLG-CRAFT. 



'53 



tration of the ring partly covered may be seen 
at Figure No. 6. The ring entirely covered is 
shown at Figure No. 7. When the required 
number of rings are covered, they are sewed 
together to form the pointed fringe decorating 
the lambrequin shown at Figure No. i. Care 
should be taken to make the crochetted 
stitches even and close together. The hands 
should be smooth and in good condition 
before attempting silk embroidery. The 
slightest roughness is sure to cause the 
twist to loosen and the filaments to separate. 



satin they are joined together so as to 
bring the two sizes in alternation both cross- 
wise and lengthwise and to form them into a 
square the size of the cushion, to the sides of 
which the outer rings are tacked. Ordinary 
embroidery silk, rope silk, Bargarran cotton, 
crewels and worsteds may be used for cover- 
ing the rings. Heavy silk works up more 
effectively for the purpose than any other 
working material. 

.\ fringe formed by knotting strands of 
embroidery silk into a row of small covered 






Figure No. 5. Figure No. 6. Figure No. 7. 

Figures Nos. 2, 3, 4, 5, 6 and 7.— Method ok Maki.n-g 'Fringe Illustrated at Figure No. i. 



There are many uses to which the cro- 
chetted rmg-work may be applied with very 
effective results, one being the elabora- 
tion of handsome sofa cushions. A rich 
looking cushion, thus elaborated, is covered 
with satin of one of the lightest shades 
seen in growing ivy, but not the very lightest. 
The upper side has an outer covering com- 
posed of rings in two sizes, one being about 
as large as the top of a number seven thimble, 
while the other is a little smaller than a silver 
quarter of a dollar. After an equal number 
of each size has been prepared by crochetting 
over them with silk a shade dnrker than the 



rings is an exquisite finish for a delicate silk 
scarf or drapery, and for cushions that are to 
be set upon dainty toilette tables or dressing 
cases. 

Pansy Design for Embroidery. 

Figure No. 8. — This design is very grace- 
ful and may be either outlined or solidly 
embroidered. The natural hues of the pansy 
blossom and leaves should, of course, be used, 
but, as there are numerous varieties of the 
blossom, many different effects may be 
achieved. The design is in the correct size 
for use. 



NeeDLe-CRAFT. 



1 55 



Mantel Lambrequin. 
Figure No. 9. — This lambrequin is made 
of velvet and is cut in square and tongue- 
shaped tabs in alternation. The square labs 
are gathered up closely at one side edge — 
that toward the center of the mantel — so as 
to drape them in wrinkled points. A row of 
cord borders all the edges of the tabs, and is 
coiled in trefoil design above the separation 
of the tabs. The points are all tipped with 
heavy tassels, and the floral decorations are 
selections from floral applique's, and are not 



as elaborate may be developed without exces- 
sive outlay. Silk embroidered applique's or 
silk or chenille hand-embroidery is, when 
indulged in to a lavish extent, rather costlv, 
but there are exquisite applique decorations 
of chenille which can be purchased ready for 
application for a very moderate sum. They 
are mostly in floral patterns, and are excellent 
reproductions of daisies, buttercups, roses and 
various other blossoms and their foliage. 
They are mounted on wire and can easily be 
manipulated to appear naturally poised in any 




FlGl'RE No. 9.— Mantkl Lambreijuin. 



large in size. The mantel-board is also 
covered with velvet, and the lambrequin is 
neatly fastened on. Plush, pongee, velveteen, 
felt or any preferred material may be used 
for the lambrequin, and any other style of 
floral decoration may be followed. Pend- 
ants of any kind may be used instead of tas- 
sels. 

At first inspection the cost of a lambrequin 
made up in this fashion may seem rather 
heavy, but a little reflection will convince any- 
body familiar with fancy-work that one quite 



position where their decorative effect is 
desired. 

A finish for the pointed sections, quite as 
effective as the tassels and less expensive in 
their requirement of silk, may be obtained by 
using brass rings that are much wider along 
one edge than along the other, and knotting 
into each one of them about one-fourth of a 
skein of embroidery silk. The silk is knotted 
into the narrower side and is cut to fall a 
little shorter than the tassels pictured in the 
present instance. 



IS6 



NeeDLe-CF^AFT. 



Mantel-Drapery. mantel-band trims each curtain or drapery 

I-"iGt;RE No lo. — This drapery is very above the hem finishing the edge, and a little 

effective and may screen a fire-place when above this band is another band, which is 

not in use, or it may be simply ornamental if applied by fancy stitches along the edges, 

there is no fire-place beneath the mantel. These bands may be of wide velvet ribbon or 

The mantel is covered with felt, at the edge of some fancy ribbon, if preferred ; and the 

of which is fastened, either invisibly or with drapery may be of fell, cloth, pongee, plush. 



^^^^^^^^^^^ 




Figure No. io. — Mantel- Dr.m'ERY. 



brass-headed nails, a deep band of velvet 
elaborated with fancy stitches carefully made 
with colored flosses. The drapery is plaited 
at the top so as to fall in graceful, careless 
folds, and descends to the floor. It is in two 
sections, and is attached to the mantel under- 
neath the velvet band. A wide band of vel- 
vet corresponding in decoration with the 



silk, cretonne, canton flannel, etc., as is most 
in accordance with the furnishing of the room. 
Mantel-Drapery. 
Figure No. ii. — This handsome and 
graceful mantel-drapery is made of plush. 
Where the lambrequin is draped is placed a 
bunch of cord loops, and at the opposite side, 
where the slash is made, the edges are laced 



NeeDLG-CRAFT. 



'57 



together with cord run througli eyelets fits tli« mantel perfectly is covered smoothly 

and tied at the bottom, the ends being tipped with the plush, and to it the lambrequin is 

with large plush balls. A beautiful spray of secured. A few pretty ornaments on the 

flowers en applique, in two parts, decorates the mantel is all that is desirable, and when the 




Figure \o. ii. — .MA.\rKi,-DRAi'EKY. 



lambrequin. The spray is a selection from fire is not lighted in the grate a Japanese par- 
manufactured satin fforal appli(|ue's of which asol will make a charming screen. China or 
there is a very large variety. A board that India silk, Surah, cloth, cretonne, velvet, 



1 58 



NeeDLe-cRAFf. 



plush, pongee or any preferred material may be used instead of the cord, with good effect, 
be used for the lambrequin. On thin goods The lambrequin was cut by Pattern No. 1451, 
painting or outline-embroidery is very effect- price -jd. or 15 cents. 




Figure No. 12. — MAMiiL Decukai iun. 



ive, and a fringe of small ornaments may be Mantel Decoration. 

added to the edges if desired. Ribbon may Fioure No. 12.— This rich mantel decora- 



NeeDLe-cHAFT. 



159 



tion consists of a scarf of deep-green plush 
allowed to hang gracefully at one end — where 
it is decorated with a ball fringe of the same 
color — and raised at the other end, being 
caught by a large bow of rose-colored satin 
ribbon. Where the scarf is uplifted there is 
shown a satin lambrequin elaborately deco- 
■ rated with crimson roses and their foliage. 
These flowers are selected from manu- 
factured floral appliques. The peacock 
which so finely tills the fire-place is of brass, 
the out-spread tail being of natural feathers. 

The novice at embroidery is so much helped 
to-day by the applique flowers and the threads 
that with very few stitches make stems and 
outlining, that even so-called elaborate pieces 
of work are not impossible to her, and, if she 
be ordinarily careful and has the determina- 
tion to succeed, it is very certain that all difli- 
calties will fly before her. 

Implements have much lo do with success 
in wurking, and to keep one's scissors sharp 
and one'.s temper I'ice 7'ersa, one's needles 
pointed and one's tongue still, one's silk out 
of tangle and one's mind to match, will aid in 
reaching that which is hoped for. When 
there is pasteboard to be cut a very sharp 
knife is the best to use. 

A new departure in decorative needlework 
is worthy of note because of its truly artistic 
nature. It consists of the arrangement of 
special designs on panels of plush, velvet or 
other material so that each is a picture in 
itself. These decorated panels are applied 
with fancy or invisible stitches to the article 
they are to embellish. A beautiful speci- 
men is among tiie contributions to this chapter, 
and the work will be found easier to do 
in these small sections than in a single large 
design. Although very elaborate in effect, 
such work may be accomplished with a small 
outlay. The panels may be all of the same 
color or they may represent a finel_\- graded 



contrast, in developing which odd pieces of 
plush or velvet or even of felt or billiard cloth 
may be utilized. Any lady who does fancy 
work understands how rapidly remnants ac- 
cumulate. Each design in such a piece of 
work as that on the succeeding page suggests 
how such accumulations may be used to good 
advantage. Short pieces of wide satin ribbons 
may be employed for the panels, and being 
usually of firm weave are e.\ceptionall\- desir- 
able for painting upon, when the lambrequin 
IS to be thus enriched. 

Similar pieces of ribbon or short lengths of 
narrower ribbon are also of special value to 
any lady who estimates aright their value as 
a foundation for outline or side-stitch em- 
broidery, or for one or both varieties of 
siitches in conjunction with purlette work or 
any of the fancy darning and overlaying 
stitches included in the chapter devoted to 
embroidery stitches in this work. The pat- 
tern traced by the weaver is an excellent 
guide for such decorations, and but a little 
needle-work is needed to develop an especially 
elegant effect. In a lady's silting-room where 
the prevailing tint is pink the mantel lambre- 
quin is made of pink ribbon and white Flor- 
entine lace insertion over pink sateen. The 
pattern of the ribbon is brought into striking 
prominence by an OiUtlining of purlette work 
and an overlaying of fancy darning stitches, 
and while the effect is elaborate the actual 
cost of such a mantel decoration is not ex- 
cessive, because its greatest value lies in the 
daintiness and precision with which the work 
is done. White or colored silk or cotton cord 
varying in circumference from the size of fine 
darning cotton to that of a thick round lamp- 
wick may be used for purlette work. 

Rapid progress may be made in doing pur- 
lette work, and it is a variety of needle-work 
that repays the worker for every minute de- 
voted to it. 



i6o 



NeeDLG-CI^ilFT. 



Mantel Lambrequin. 
FicURE \o. 13. — The engraving illustrates 
a handsome lambrequin of peacock-blue felt 
cloth. The lower part is cut out in large oval 
scollops with uniform spaces between them, 
and above each of the spaces is a narrow strip 
of velvet applied with fancy stitches, thus con- 
tinuing the effect of the scollop to the top. 



There are many little items of economy 
which may be kept in mind by ladies who 
take a justifiable pride in keeping the pro- 
ductions of their needle within a moderate 
sum, and one of them relates to the making of 
ornaments for finishing points, lipping cords, 
etc. Metal foundations in various pretty 
shapes may be purchased for a small sum and 




Figure No. 13.— Mantel LAMiiKEijui.N. 



Upon each scollop is an oval panel of velvet 
applied with fancy stitching, which forms an 
effective background for embroidered or 
painted Moral sprays. .A handsome tassel- 
ornament depends from each of the strips of 
velvet, and also from the tip of each scollop. 
The designs for the panels are given in full 
size at Figures Nos. 4, 5, 6, 7 and 8. The 
cloth may be of any preferred shade. 



the tassel portions attached at home with but 
little additional cost. The floss, worsted or 
silk that is to be used should be made into 
little skeins only long enough to permit of 
knotting them into the metal and leaving the 
length required for the tassel. The falling 
end is then cut to perfect the appearance. Re- 
garding the cuttmg of silk — never attempt it 
witii scissors that are at all dull. 



NGeDLe-cF?AFr. 



i6i 



Designs for Embroidery on Lambrequin. suitable for ornamenting other articles of a 

Figures Nos. 14, 15, 16, 17 and 18.— These similar nature. The spray of handsomely 




Figure No. 14.— Design for Embroidery on Lambrequin. 

designs are graceful in effect and are shown in crenelated leaves illustrated by Figure No. 14 
the proper sizes for decorating the lambrequin suggests rose foliage, but wide latitude 
illustrated at Figure No, 13, though they are also is allowable in embroidering foliage. 



l62 



NGeDLe-CRilFT. 




I 



Figure No. 15. — Design for Emi!Roidery on Lambrequin. 



NeeDLe-CF^ilFT, 



IC3 




Figure No. i6.-Design for Embroiderv on Lambrequin. 



NeeDLG-ci^iiFr. 



i6.s 




Figure No. i8.— Design for Embroidery on Lamkueqjin. 




'^BUBBLES 



FROM THE CELEBRATED PICTURE BY 

SIR JOHN MILLAIS BART. B .A. 

_ AND GOLD MEDALLIST a.C. 

[IN THE POSSESSION OF THE PROPRIETORS OF 



f=e:/\fr 



SOvaj=3 



PUFtCHASEO BY THEM FOR Jll.OOOj 



NeeDLG-CRilFr. 



167 



, ^^ , ^;^^^pa , ^^ , ^ , ^ , ^ . .3 ^^^^^ ^ ^^^^^p , ;^y^^ ^^^ = 






HrJr^? rr!a.;^'.^.^n^Hr jL aHHr^ r^r^-H-f'.-l--l^^ Jy.-'r-'r^V-'-pPr'i-'.a 



CHAPTER XXVII. 



■Je^y 



WINDQO) DRAPERIES. 




XTHOUGH heavy cur- 
tains and cumbersome 
draperies made up so 
elaborately as to form re- 
ceptacles for dust are no 
longer in vogue, Fashion and good 
sense unite in paying considerable 
attention to the curtaining and drap- 
ing of windows. Charming effects 
are produced without large outlay. India silk, 
plush, scrim, and Madras are among the ma- 
terials which are oftenest selected for draping 
and curtaining, and it is safe to say that the 
simpler textures are susceptible of quite as 
artistic treatment as the richer fabrics. Here 
are a few things which purchasers should bear 
in mind in selecting window draperies : 

That very cheap lace curtains are less 
desirable than those of scrim or muslin. 

That any lady who is clever with her needle 
can make handsome window curtains. 

That she must take every stitch and meas- 
ure every part with precision if she hopes to 
win approval for her work. 

That fluted ruffles are very pretty upon 
cottage curtains, but that they should be full 
enough to flute evenly. 

That the narrow margin projecting beyond 
the work upon lace curtains should be 



hemmed under or moistened with gum arable 
water and pressed underneath, but not cut off. 

That dark heavy curtains may make a large 
room look cosy, but they decrease the appar- 
ent size of a small room. 

That lace curtains — unless they be of the 
finest quality — always hang a little stiff when 
first put up. 

That they will fall into more graceful folds 
after a short time. 

That they should either be draped back, or 
allowed to fall straight permanently. Fre- 
quent changing stretches them. 

That the e.\tra length should be folded in- 
and-in at the top — not allowed to drag upon 
the floor — never cut off, as it will be needed 
when the curtains are laundered. 

That ecru and all shades of cream and gold 
are obtainable in lace curtains, but that it is 
always safe to select a pure white tint in fine 
curtains. 

Tiiat the effect of a narrow window may be 
broadened and a low one heightened by ]ia\' 
ing the poles e.xtend beyond it, or placing 
them a little above it. 

That a curtain or shade whicii is worked on 
rollers should not be jerked or drawn side- 
ways, if its easy and satisfactory management 
is to be perpetuated. 



1 68 



NeeDLe-cRApr. 



Window-Drapery. silk are selections from inaniifaclured silk 

Figure No. i. — A full drapery of Madras floral appliques. One need not necessarily be 

is often placed before the lower part of the an adept at needle-work in order to be able 

window when the room is on the ground floor to make such a drapery. The lining is of 

and a certain amount of privacy is desired, brown sateen. Of course, individual taste 

The curtain drapery is then hung from the will dictate other combinations, but the colors 




KlciURE No. 1. — \VlNlH)W-l)KAI'EK\. 



top of the window nnd falls over the Madras. 
It is mounted on its rod, and, being in two 
parts, may, therefore, be pushed aside to 
permit the light to stream in. The material 
is felt of a dull mode color, and the velvet 
band is of a golden-brown shade : while the 
background of the appliqned tigure is velvet 
of the same color and the pansies of yellow 



mentioned are most in vogue and are of a 
variety of which the eye will not soon weary. 

Appliqu^ for Window-Drapery. 

FiccRE No. 2. — The flat ajiplique here 
pictured shows the correct size of those deco- 
rating the window drapery pictured at Figure 
No. I. It is of yellow silk, and the flower is 



NeeBLe-CRflFT, 



169 



well brought out by the golden-brown velvet and, indeed, any of the numerous " bits " that 
background. These flowers may be utilized seem to call for embroidered ornamentation. 




Figure No. 2. — .VitliquS for Window-Drai'Erv. 




*: * ^ 








FicuRE Xo. 3. — Decorated Cl:riain. 
for all decorative purposes and will be found Decorated Curtain. 

desirable on rugs for lounges, on crazy quilts. Figure No. 3. — This curtain is made of 



J.^o 



NSeDLe-CRAFt. 



ecru linen, its deep hem having above it tiiree Window-Drapery, 

rows of feather-stitching done in very heavy Figure No. 4. — The engraving illustrates a 

scarlet crewels. The daisies, graded as illus- rich and handsome drapery for a window, 

trated, are of scarlet and white in the long The curtains are of Madras in Persian colors, 

outhne-stitch usually chosen for them. The and are edged all round with tiny, fluffy 




Figure Xd. 4. — Winhow-Dkai'I-.kv. 



cord and tassels are of scarlet and white, tassels of floss showing all the colors of the 

looped through the brass crescents in an material. The lambrequin is of plush lined 

artistic manner. Dark brf)wn and yellow, with silesia. It is mounted on a pole with 

blue and yellow, or all crimson crewels mav be rings and is elaborated by a decoration of 

used if preferred to the colors illustrated. very natural looking satin floral applique 



NeeDLS-CRAFT. 



171 



embroidery at one side, a bunch of cord or 15 cents, and will develop handsomely in 

tipped with large pompons where it is plaited ail materials used for lambrequins. Any 

up, and a row of pretty pendants along the style of pendants may be used, and ribbon 

lower edges of the tab-like sides. The pat- niay take the place of the cord introduced in 

tern of this lambrequin is No. 145:!, piice yd. jts garnitures. 



Clioice Papery. 



Luncheon sets show many pretty novelties, 
but none that entirely eclipse pure white 
damask, with hemmed edges or drawn-work 
borders. A handsome set of napery suitable 
for luncheon or tea is of plain linen that is 
soft and smooth and of rather heavy weave. 
The border consists of a row of fringe headed 
by three rows of drawn-work in an open pat- 
tern. All the threads pulled out in making 
the drawn-work were saved and some of them 
used in fashioning the threads left in the 
ravelled portion into a delicate lace-like de- 
sign. The remainder, after being cut in 
lengths corresponding with the depth of the 
fringe, were knotted w-ith the latter into hand- 
some, heavy tassels. The tassels were made 
according to a method illustrated and de- 
scribed on another page, and their effect 
much improved by the addition of the e.xtra 
threads, which increase the size to advan- 
tage. A cover could be easily decorated 
in this way at home by any lady who could 
give the requisite time to the work. Napkins 
or doilies to match are made with a narrower 
fringe and one row of clrawn-work. The initials 
or cvpher in medium sized letters, which are 
worked in solid embroidery, are added to the 



ends of the co\ er and the corners of the napkins. 
Damask cloths with well defined borders 
may be elaborated by following the design of 
the border in outline-stitch with cotton or 
linen embroidery thread, or with washable 
embroidery silks. Sometimes the design is 
still further emphasized by associating a side 
stitch with the outline-stitch. 

Pure white napery is always good form for 
dinner service. It may have no decoration, 
or it may be enriched by a border of heavy 
lace or Mexican work, the latter being drawn 
work, much elaborated. If spotlessly white, 
and ironed so as to bring out the beauty of 
the satin-like weave, unornamented damask is 
always beautiful. Various styles of letters for 
marking are given in another part of this 
book, and from them may be selected several 
varieties adapted to this department of table 
furnishing. 

Silk-and-linen covers and napkins are 
woven in e.xquisite styles and colorings, and 
their lustre rivals the richest satin. They 
cost more than all-linen sets, which are much 
more durable, and they cannot be laundered, 
though they may be freshened by a dry 
process to look very well. 




172 NeeDLG-CI^ftFT, 



1 *n^^^ I *>*c-^^^ i 

^V v^<l- ^<zXi^ ^^4.' ^^^ 



'TV -')' i y)^ 'iT[' ^J' 1 •^•'^ '][' 



Bruslies for Pal)rlc Paii]tii|g. 

The brushes most frequently used in fabric 
painting, are sizes Nos. 2, 4, 6 and 8. They 
should be thoroughly cleansed every time 
they are used, before they are put away. As 
an amateur advances in proficiency, the other 
sizes that will be required for various kinds of 
work will suggest themselves. 



Siziijg for Silk or SatiI^ 

To prepare silk or satin for receiving paint 
to good advantage, it is often desirable to 
apply a sizing, which renders the surface re- 
ceptive. 

A good sizing may be made by dissolving in 
very hot water, equal quantities of powdered 
alum and isinglass. As the alum hardens the 
water the moment it touches it, the isinglass 
should be put in first. If the design is to be 
stamped, the stamping should be done before 
the sizing is applied. A brush is used for 
applying the liquid and is moved in quick 
regular strokes wif/i the nap of the goods. 




NeeDLs-ci^iiFr, 



173 




regEEEb-gEgBEEgEggg'^r-fe^- 



rm^^i>^^- 



•;# 



CHAPTER XXVIII. 



TABLES AND TABLE' SCARFS. 




lHE prevailing fashion of 
decorating fancy tables 
with scarfs is conducive 
to charming effects, which 
do not demand a large out- 
lay of money, provided 
time and taste can be expended freely. 

Table Scarf. 

Figure No. i. — Reps of the shade of yel- 
low fashionably called pumpkin yellow was 
chosen for this pretty scarf, and the ends are 
decorated with a row of deep antique lace, 
above which is a handsome decoration of 
applique' pansies with embroidered leaves 
arranged in single file. The pansies used 
were selected from manufactured floral 
applique's. .\ny other preferred applique 
flowers or other designs may be used, or the 
entire decoration may be hand-embroidered 
or hand-painted, as preferred. Fringe, orna- 
ments, etc., may be used instead of lace, and 
mstead of the reps, felt, plush, silk, satin or 
any preferred material may be used. 

Scarf for Square Table. 

Figure No. 2. — This scarf is designed 

especially to meet the requirements of the 

small, square table that is so prominent a 

feature in many houses. The square in the 



center defines exactly the part that will cover 
the table. The scarf is of dark green plush, 
and the ribbons applied upon each corner are 
of shrimp satin, silk floss in the same shade 
and in one of the fancy applique stitches be- 
ing used to hold them. After they are fin- 
ished, the center square is laid over and 
fastened down with the same stitch. All this 
may be done over a lining of thin muslin, and 
the real lining of satin-finished silesia need 
not display stitches. For the distances indi- 
cated, the edges are ornamented with crescents 
of green plush, caught securely and yet so 
loosely that they hang easily. Any favored 
combination of colors, or one that will suit the 
furnishing of the room, may be substituted for 
this, though the shrimp of the sea and the 
green of the ivy form a combination that is 
approved by high art. 

Decorated Scarf. 

Figure No. 3. — A handsome white towel 
having floral sprays woven in it in white is 
used for this scarf. The pattern is outlined 
with scarlet and green, the green being used 
for the leaves, which are also veined. A 
pretty dash of color is also given the ground 
by running it with scarlet, but to look nice 
the work must be done carefully. Other pat- 
terns may be obtained, and the colors chosen 



174 



NeeDLs-ci^AFr. 



are usually in accordance with the pattern, are the proper kind for this beautiful work. 
However, scarlet is much used, for it is very The pattern is outlined with red, blue, pink, 
effective and bright-looking. green, broun or any other preferred color or 




F'ic.L'RE Js'u. I. — Table- .Scarf. 



Some beautiful towels may be purchased colors, and then the ground is rendered bright 
with floral patterns the shade of the cream or with dashes of the color run in broken lines 
white groundwork woven in them, and these through it. 



NeeDLG-CI^iiFT. 



'75 



Pongee Scarf. forni.s tlie necessary finish. Such scarfs are 

Figure No. 4. — On this pretty ecru pongee so easy to make and so decorative that their 

scarf, with its hem-stitched ouilining, are ap- desirabiHty is conceded by all who admire 

plied morning-glories in purple and pink, pretty surroundings. Sometimes the flowers 




Ki(;ui;e Nd. 2.— Scarf for Square Taule. 




Figure No. 3. — Decorated Scarf. 



clambering over a trellis of gilt. The flowers are outlined with silk and their natural colors 
are machine-made floral appliques, and the reproduced with paint. The effect of such a 
pretty trellis is outlined with gilt thread. The combination is beautiful, and is easily de- 
fringe is gilt and pale purple chenille, and veloped on all smooth materials. 



.76 



NGeDLG-CI^AFr. 



Bureau Scarf. 

Fuu'RE No. 5. — For the bureau or dressing 
table this i.s a very dainty-looking scarf. A 
long, narrow Turkish towel is widened on 
either side with three rows of ribbon of as 
many diiiferent shades, joined together by fine 
over-and-over stitches. The ends of the rib- 
bons extend below the fringe and are finished 
in long points that are each tipped with a 



obtainable in fine grades and in various colors 
as well as in white. A white towel elaborated 
with bright yellow ribbon and stitching de- 
velops handsomely. 

Table Scarf. 

Figure No. 6. — This handsome scarf is of 
heavy satin a.nd has a dado decoration at the 
end done with colored embroidery silks. The 




Figure No. 4. — Pongee Scarf. 



Figure No. 5. — Bureau Scarf. 



brass ring through which silk floss is pulled 
and tied to form a heavy tassel. The ends of 
the towel are embroidered over the border 
stripes with simple fancy stitches, and a band 
of ribbon applied with fancy stitches heads 
the fringe, with very handsome effect. The 
ribbons may combine any three harmonious 
shades, and all sorts of colors may be blended 
in the embroidery stitches. Such towels are 



irregular pattern is done in chain-stitch with 
gold silk ; the circles are done with crimson 
silk in the same stitch, and filled in with a 
rainbow combination of colors in knot-stitch. 
A row of deeply netted fringe is added to 
each end, and may be made of silk in one 
color or a combination of colors. Any variety 
of fringe may be used, and velvet, plush, silk, 
cloth or any preferred material may be 



NeeDLG-CRAFT. 



177 



selected for the scarf. Metallic or tinsel cord tassel. A tassel made of floss is also fastened 

adapted to portions of this work may be where the discs touch and also at a similar 

obtained for a small sum. It is in various point to the outer discs. The other end, 

shades and does not soon lose its brilliancy. which falls much deeper, is bordered with two 

bands of velvet edged at each side with tinsel 

Ornamented Scar.f. cord arranged in a single scroll. The lowest 

FrcuRE No. 7. — To throw over a towel-rack, band is directly at the edge, and pendants 




Figure Xo. 6. — Table Scarf. 



FlCURE No. 7. — ORNAME.NIEI) Scau 



a table or the back of a large chair, this scarf 
is useful and decorative. The fabric is China 
silk, and the end which hangs over is deco- 
rated with a row of applied velvet di.scs edged 
with tinsel cord. A crochetted ring is fastened 
to the bottom of each disc, and through it is 
fastened a bunch of silk floss to form a large 



formed of crochetted rings and floss tassels 
are tacked to form a fringe all across the 
edge. The other band is a short distance 
above, and a row of crochetted rings depends 
from it. The method of crochetting the rings 
is illustrated and described in another 
chapter of this book. 



178 



NeeDLe-cp^AFr. 



Pluf-,h Table Scarf. 
Figure No. 8. — Purjile plush is used for 
this scarf, tlie liliing being of pale yellow 
sateen. Satui is laid under the plush, and the 
latter is cut in the fancy outlines represented 
and sewed upon the satin ; and an entwining 
of gold thread is then used to produce an 
effect like that of the fine black lines in the 
engraving. Tlic fringe is of plush, slio\viii<^r 
the two colors, die long pendants swinging 
from the ends of tiio little brass crescents bv 



pattern may easily be obtained by folding a 
piece of paper and cutting out the combined 
designs with the edge having the crosses (x) 
on the fold. The cross (X) marks show the 
center of the pattern, while the figures at the 
end should fit to those corresponding on the 
other portion of the design. The figures 
should fit exactly to each other, and, if care 
be taken, the result will be as pretty and 
dainty as possible. The yellow satin is laid 
under the plush before the lining is put on. 




F'iGURE No. 8. — Plush Tablii Scarf. 



which they are fastened to the edge of the 
scarf. Any colors suited to one's drawing- 
room may be developed in silk and velvet, 
satin and plush. 

Sections of Design for Cutting the Ends of 
a Table Scarf. 

FiotJRES Nos. 9 and lo. — Half of the pat- 
tern for cutting out the ends of the table-scarf 
shown at Figure No. 8 may be obtained by 
combining these two designs, and the entire 



and tlie plush cut out in the fancy design and 
outlined with gold braid, showing in what 
sculptors call very low relief. The necessity 
for sharp, pointed scissors to do the cutting is 
imperative, as the edges should be absolutely 
true, and the nap of the plush not broken or 
matted, a result which is sure to follow the 
use of dull implements, the blades of which 
do not work easily. Plush having a short 
nap is the most desirable to use for this kind 
of work. 



NeeDLe-ci^AFr. 



179 




Figure No. 9.— Section of Design for Cutting the Ends of a Table Scarf. 



i8o 



NeeDLe-ci^ftFr. 




FuiURK No. 10.— Section of Desii-.n tor Cutting the Ends of a Table Scarf. 



NeeDLG-ci^fiFr. 



i8i 




Figure Nu. u. — Tmile Scart and Lamp Shade. 



l82 



NeeDLe-ci^AFr. 



Table Scarf and Lamp Shade. the decoraied bands the scarf is cut in hand- 

FiGURE No. II. — Very rich and handsome some points, and between the bands it is 

are these accessories to a table and a lamp, somewhat shorter; the points and shorter 

The scarf is of crimson plush, and is bordered portions being bordered with rich fringe. The 




'^^l 




Figure No. 12. 

Figure No. 12 — Floral 

-Applique. 



Fu;ukE No. 13. 
Figure No. 13. — Floral 

APPLIQUfi. 




B'iGURE No. 14. Figure \o. 15. 

Figures Nos. 14 and 15.— Leaves ix Outline, anmi METHon ok F.MiiRniriERiNG Them. 

at each side with a wide band of gold satin embroidered and applique decorations are 
ribbon, handsomely embroidered with moss- fully illustrated and described at Figures Nos. 
roses and daisies en appliijui', and their foliage 12, 13, 14 and 15. Plush, velvet, felt, cloth, can- 
done in Kensington stitch. At the ends of vas, raw silk, pongee or any preferred material 



NeeDLe-CRflFT. 



183 



may be used for such scarfs, and on silk the fringe may be whatever are most pleasing to 

border bands will usually be velvet or plush. the taste. 

These bands may, of course, be embellished 'I'he lamp shade is made of two deep 




Figure Xo. 17. — Embroidery De 



Figure Xo. 16. — Fan'cy Table Scarf. 



with embroidery. Ornaments of any pre- flounces of lace mounted on a section of bob- 
ferred variety may be added as a fringe, and binet that is almost as deep and just as wide as 
the colors introduced in scarf, bands and the upper flounce. Heading the upper flounce 



184 



NeefiLe-cF^ftFT. 



is a row of lace beading that is edged with a 
row of narrow lace, and through the beading 
is run a narrow ribbon that ruffles the lace 
prettily and is tied at one side in a cluster of 
pretty loops and ends. A row of tiny pom- 
pons is fastened along the scollops of the 
lace flounces, with pretty effect. Any kind of 
lace may be used for such lamp shades, which 
are as dainty as they are beautiful, and the 
ribbpn may be of any preferred color. 

Floral Appliques. 
FicuRES Nos. 12 and 13. — These pretty 
flornl appliques are selected from the usual 
machine-made varieties, and are used to 
decorate the table scarf illustrated at Figure 
No. I r. Thev may be used as decorations on 
scarfs, lambrequins, etc., and are very rich in 
effect. The foliage to accompany them is 
usually stamped and embroidered in South- 
Kensingtou stitch, as shown at Figure No. 14. 

Leaves in Outline, and Method of Embroidering 
Them. 
Figures Nos. 14 and 15. — These leaves 
represent the foliage of the moss-roses and 
daisies decorating the scarf illustrated at 
Figure No. 11. They are of the correct sizes, 
and are filled in with the South-Kensington 
stitch as shown by Figure No. 14. The natural 
shades are selected for them in filoselle, crewel, 
embroidery silk or fioss, etc. This is the 
mode usually adopted in providing foliage for 
applied flowers, but sometimes the leaves are 
cut from velvet, etc., and also applied. The 
result is, however, mucii handsomer when the 
foliage is embroidered. 

Fancy Table Scarf. 
Figure No. 16. — This handsome scarf is 
made of reps and is bordered at each end 
with a broad band of plush or velvet. 'l"he 
upper part of the band is decorated with a 
handsome desig,n in embroiderv, and the ends 



are bordered with a row of thick caterpillar 
fringe. The ends are slanted so that the 
scarf is much shorter at one side than at the 
other, and the effect is unique and pretty. A 
painted plaque on an easel, a handsome lamp 
or any preferred ornament may be placed 
upon the table. The embroidery design used 
in decorating the scarf is illustrated at Figure 
No. 17. 

Embroidery Design. 
Figure No. 17. — This engraving illustrates 
the design used in embellishing the scarf 
represented at Figure No. 16. It is in the 
correct size, and may be very easily repro- 
duced. The stitch is the well-known Ken- 
sington stitch. Such a design may be worked 
on lambrequins, chair or table scarfs, etc.. 
and may be used as a center decoration or as 
a border, as preferred. 

Decorative Scarf of India Silk. 
Figure No. 18. — This scarf is particularly 
beautiful for the use illustrated. It consists 
of a width of silk decorated at either end with 
a row of lace headed by a light metal gimp, 
and fringed with tiny, tiuft'y tassels. On one 
end is pictured a vase containing leaves sim- 
ilar to those in the vase holding the scarf. 
Any shade of silk may be used, and the lace 
and painted decoration may be varied to 
please the fancy. 

Table Scarf 
Figure No. 19. — Cn'tonnc in two contrast- 
ing patterns and colors is combined with 
black velvet ribbon, cord fringe and heavy 
tassels in making this beautiful table-scarf. 
The cretonne is cut in strips — two of each 
pattern — of ecjual widths, and the strips are 
neatly joined together, the two kinds being 
arranged to alternate. Over the seams are 
herring-boned with gold-colored floss strips of 
velvet ribbon, wliirh impart a rich and elegant 



J 



NeeDLG-ci^AFr. 



185 








Fir.vRE No. iS.— Df.corative Scarf of India Silk. 





I- IGURF. No. 19.— 1 Al;l.E ^CAKF. 



FlGlKE No. JiJ. — l-\IU,F SCAKl'. 



i86 



NeeDLe-CRflFT. 



effect. A row of fringe borders the ends of 
the scarf, and over the fringe at each corner 
of the scarf and at the end of each strip of 
velvet ribbon is fastened a heavy tassel. The 
scarf may be lined with silesia or cambric, if 
desired; and, when a lining is used, the cre- 
tonne may be cut away beneath the velvet 
rihljon. Such scarfs may be as brilliant in 
hue as desired, and the fringe may be of any 
preferred variety. Plush and felt cloth, plush 
ill two contrasting shades, velvet or plush and 
satin, make very rich and elegant scarfs ; and 
the ends may be decorated with fringe or 
plainly finished. 

Table Scarf. 
Figure No. 20. — This scarf is made of a 
width of India silk of the needed length for 



the table which it is to adorn. The ends are 
decorated with alternate strips of velvet and 
silk of equal width, but of different lengths, 
the silk strips extending not ciuite as far bei 
low the edge nor so far up on the scarf as the 
velvet strips. .411 the strips are finished in 
points at both ends, and all the edges are 
stitched with coarse silk of a contrasting 
color. The lower ends of the strips are 
tipped with chenille pompons. The velvet 
and silk may be of contrasting shades, and 
the pompons may be the color of each or of 
both. On each end the strips and pompons 
may be of different colors. This is a most 
decorative method of utilizing scraps of silk or 
velvet, or odds and ends of ribbon of any 
variety one may have on hand. 



, - "\ . '^ ~ ' ' ~ I — ■"' ' ■ — I — ~ - _— .^>> . 

^-? A. < X X X X X X X X >-J;7--^-^ 



NeeDLG-CRfiFT. 



187 




CHAPTER XXIX. 



Fancy Scarf, with Grazy EnibrGidery. Crocip ef Fancy Stitches. 




*HE furor prevailing in woman's 
kingdom for " crazy ' effects — 
otherwise known as mosaic and 
oriental effects — in portieres, quilts, 
sofa-cushion covers, etc., has 
brought into use every kind of 
stitch hitherto employed in embroidery, and 
has developed many pretty new stitches. 
The well-known darning stitch has become 
quite a favorite and effective embroidery 
stitch, and is used for decoration in all its 
stages, from the first simply crossed threads 
to the heavier and completed stage ordinarily 
called the " basket " stitch. Feather, herring- 
bone, button-hole, cross, satin, Kensington 
and cat stitches are all used, and a little in- 
genuity and artistic taste will, out of these and 
the excellent variety of stitches which are 
illustrated in this chapter, create the most 
fascinating mosaic effects that could be im- 
agined. All sorts of shapes in scraps of \el- 
vet, silk, satin. Surah, fancy and plain ribbons, 
pretty brocades in silk and wool mixtures, etc., 
are used in mosaic patch-work. They are 
basted to blocks of muslin, crinoline or sheet 
wadding; the edges slightly turned under and 
then applied in any and all the fancy stitches 
mentioned, with flosses in a veritable rainbow 
of colors; and the result is brilliant in a be- 



wildering assortment of hues, shapes and em- 
broidery. Birds, animals, Japanese figures, 
flags, stars, ships, monograms, Greenaway fig- 
ures, flowers, single and in sprays, fruits, veg- 
etables, etc., are introduced in this peculiar 
patch -work, and the more varied the effect, 
the more perfect the Oriental result will be. 
The blocks are usually square and may be of 
any size preferred; and, in uniting them, care 
should be taken that no suggestions of their 
joining be apparent. A broad band of bro- 
caded, plain or fancy velvet, silk, plush or 
satin is a handsome bordering for the work, 
and should be monochromatic in its coloring, 
as the solid tone affords an artistic framing 
for the brilliant work and heightens the Ori- 
ental look. Black, dark garnet, deep crimson, 
navy-blue, ruby, violet, olive, purple, dark 
green, cardinal and brown are especially ef- 
fective colors for borderings, the depth of 
their hues softening the brilliancy of the work, 
yet bringing out its beautj' in the same way as 
a suitable frame shows off a handsome paint- 
ing. Neatness in application and general 
work is an absolute necessit)'. 

Fancy Scarf. 

Figure No. i. — A handsome scarf, as ap- 
propriate for a mantel, piano, etc., as it is for 



i88 



NeeDLS-CI^AFT. 



a table, is here illustrated. It is made of felt any color desired, and the velvet ribbon iiiav 

cloth, edged at the ends with a fringe formed be like it or a contrast in color. Any kind of 

of heavy silk tassels, alternating with large fringe preferred may be substituted for that 

plush pendants. A little above the fringe is illustrated. 

applied a broad band of " crazy " patch-work 

embroidery, formed of three blocks of patch- ^'°'^'' '" Crazy Patch-work. 

work separated by bands of velvet ribbon ap- FiouRii No. 2. — This engraving shows how 




I'lGlRF. No. I. — F.VNCV SCARK. 



plied and decorated with a variety of fancy a block, formed of scraps of plain silk or vel- 

stitches done with many colors in silk floss, vet or both, may be richly elaborated with 

Bordering the band on each side is a row of embroidery combining all the variety of 

wide velvet ribbon, blind-sewed on. The stitches illustrated in this department. The 

blocks of patch-work may be very different in scraps are in all sorts of shapes, and are ar- 

appearance, a most effective block being ranged in all sorts of conceivable ways and 

shown at Figure No. 2. The cloth may be of positions. 



NeeDLe-CRfipr. 



189 



Embroidery in Darning Stitches. 
Figure No. 3. — This design forms an ef- 
fective decoralive feature in the bloclc sliown 
at Figure No. 2, at which it is worked on a 
plain piece of sillc or satin. It is first out- 
lined, and then the spaces are embroidered 
with the stitches described at Figures Nos. 4 
and 5. 

Darning Stitch. 

Figure No. 4. — This is the ordinary basket 



through at the point where the next stitch is 
to be made, as illustrated. 

Embroidery Stitch. 

Figures Nos. 6 and 7. — These engra\ings 
illustrate a pretty stitch formed of three long 
stitches and a loop, the method of making the 
loop being clearly pictured at Figure No. 6. 

Embroidery Stitch. 

Figuric No. 8. — In making this stitch, the 
short stitch is made first, and the needle car- 




FlGURE No. 2. — Bl.OCR IN GrAZY PaTCH-Wi IKK. 



darning-stitch used in darning hosiery, etc. 
It is a well-known stitch, and a little study of 
the engraving will soon make it clear to any 
one who is not familiar with it. 

Embroidery Stitch. 

Figure No. 5. — The long threads in this 
design are run in like darning stitches, only 
farther apart, so as to form diamond shapes, 
and are caught down at the crossing with a 
simple back-stitch : the needle being drawn 



ried through at the point locating the end of 
the loop to be made; the needle is then 
carried back under the short stitch and down 
to the end of the loop. 

Embroidery Stitche;;. 
Figures Nos. 9 axd 10. — These illustra- 
tions show how a variety of stitches may be 
developed from that shown at Figure No. 8. 
The long stitches may be made in any di- 
rection. 



190 



NeeDLe-CRAFT. 



Embroidery Stitch. carried through at a point showing the lenj;lh 

Figures Nos. ii and 12. — Figure No. n of the sicm or middle stitcli ; the needle is 




Fii'.rRE No. •!. 




ij" 




-4-r^<. 



W^ -^V 



f 




Figure Nu. 4. 



Figure No. 5. 



Figure No. 6. 




Figure Nu. 7 



Figure No. 9. 



Figure No. 8. 




Figure No. 10. 





Figure No. 12. 



Figure No. ii. 
Figures Nos. 3, 4, 5, 6, 7, 8. 9, 10, 11 anh 12. — Embroidery Stitches. 



shows the method of making the stitch at then carried back to the end of the last stem 
Figure No. 12. In making the last stitch in or middle stitch in order to complete this 
a figure, it will be observed that the needle is stitch properly. 



NeeDLG-ci^AFr. 



191 



Figures in Embroidery. more shorter stitches, as preferred. Figure 

Figures Nos. 13 and 14. — These figures No. 15 illustrates the method of putting in the 
are effective on applied ribbons, bands, etc., long stitches. 





^w \^^^ V 





Figure No. 13. 



Figure No. 14. 



Figure No. 15. 







V 



Figure No. 16. 




Figure No. 17. 




^ 




Figure No. iS. 



Figure No. 20. 




Figure No. 19. 




Figure No. 2 





Figure No. 22. Figure No. 23. 

Figures Nos. 13, 14, 15. 16, 17, iS, 19, 20, 21, 22 and 23. — Embroidery Stitches. 



and also as center pieces to sections in mosaic Embroidery Stitch. 

patch-work. The stitches are all run out from Figure No. 15. — These stitches all radiate 

a common center, which is crossed b}- one or from a common point, and may be of equal 



192 



NeeDLe-cF^AFT. 



leiigtlis, or the center one may be the longest. 
Three, five or more stitches may be grouped 
in a pattern, and, while they may vary in 
length, the corresponding stitches at the sides 
should be alike. 

Embroidery Stitch. 
Fic.URE No. 16. — In making this pretty 
stitch, the needle is carried down over the 
thread, as illustrated. The stitch is pretty 
and simple, the only care being to take up the 
stitches in a line and to make them even in 
length. 

Combination of Embroidery Stitches. 

Figure No. 17. — This engraving illustrates 
an effective combination of the stitches ex- 
plained at Figures Nos. 15 and 16. The 
combination is very effective and may include 
one or two colors. 

Combination of Stitches. 
Figure No. i8. — The stitch explained at 
Figure No. 15 is here combined with a knot- 
stitch to form a very effective variety in 
stitches. 

Embroidery Stitch. 

Figure No. 19. — .\nother very effective 

arrangement of the stitch described at Figure 

No. 15 is here portrayed. The stitches are 

made at regular intervals at each side of the 



edges to be appliqued, the lower stitches 
being made so as to come midway between 
those of the upper row. 

Embroidery Stitches. 

Figure No. 20. — This stitch is commonly 
known as the " herring-bone '" stitch, and is 
simple and one much used in decorating flan- 
nel under-garments, as well as for applique 
work. 

Combination Stitches. 

Figure No. 21 — This engraving illustrates 
a combination of the stitches explained at 
Figures Nos. 15 and 20. The stitches may 
be of contrasting colors, and are particularly 
effective combined in this way. 

Embroidery Stitch. 

Figure No. 22. — The engraving clearly 
illustrates the method of making this pretty 
stitch. Care should be taken to make all 
the stitches even. 

Combination Stitches. 
Figure No. 23. — The diamond outnnes 
are each made with four long stitches, carry- 
ing the thread under the needle at the corners. 
A simple cross-stitch, made in the center of 
each, completes this simple but pretty com- 
bination. 



Group of Fai|cy Stitcl^es. 



Group of Fancy Stitches. 
Figures Nos. i to 13. — Those who are 
making " crazy " quilts or covers for chairs, 
pillows, etc., will appreciate the novel com- 
binations of stitches illustrated in this group. 
They are very effective when done in gold 
thread or, indeed, in silk, so that all the short 
bits left in the work-basket may be used up by 



the aid of such stitches and a decidedly 
oriental effect achieved. 

For the application of ribbons, etc., they 
are equally effective. They are all formed 
partly or entirely of the well-known herring- 
bone, knot-stitch, feather-stitch, and long 
stitches grouped artistically. A careful study 
of the engravings will aid the searcher after 



NeeDLG-CRAFT. 



193 



Figure No. 2. 




Figure No. 4. 



® @ @__® &' ty_^. 




Figure No. 7. 



Figure No. 9. 





Figure No. i. 






Figure No. 3. 




Figure No. 6. 




cT^~r^ ciz^ -"CS^* 

Figure No. 5. 




Figure No. 8. 




Figure No. 10. 



Figure No. 11. 




Figure No. 13. 
Group ok Fancy Stitches. 



194 



NGeDLS-CRilFr. 



pretty stitches in obtaining a variety of effects, 
and in either grouping one, two or several 
colors may be attractively introduced. It 
would seem as though the management of the 
needle had reached such a point of excellence 
that fine work done with it is no longer men- 
tioned without its prefix of " artistic." Such 
work is the successor of " plain sewing," for 
the study of which, by-the-bye, classes are 
frequently formed, because \Yithout a proper 
knowledge of "plain sewing" one can have 



no certainty that, if she only knows how to do 
fancy work, she will always do it well. The 
dainty finish and the ease with which linings, 
especially, are made to retain their proper 
position are, in nearly all instances, due to 
knowledge obtained when the worker has been 
properly taught to hold the needle. At that 
time one learns to have the thread short, not 
to moisten the end of her silk so it will fray, 
and above all things to give thought to that 
which she is doing, else it will be a failure. 



^ Il^osalc ii? Grocljet Uiork. 



A SOFA cushion suggestive of mosaic, or as 
it is more commonly termed crazy work, is 
covered with crochetted squares measuring a 
little more than three inches on each side. 
The squares are crochetted in the well-known 
shell-stitch and each one displays variety of 
colors arranged so as to present a striking 
difference to the others. Here are a few 
examples of the arrangement of colors. One 
square is black for half its dimensions, 
measuring diagonally from one corner to 
another; the other half shows a diversity of 
tints, one shell being orange, another white. 



another cardinal, and still another purple. 
Another square is composed of alternating 
shells of salmon and moss-green around a 
smaller solid square of darker green. Odds 
and ends of worsted, embroidery silk, chenille 
and all sorts of crochet and embroidery mate- 
rials left over from various pieces of fancv- 
work may be utilized to good advantage in 
mosaic work. Of course some dark color 
may be selected and used as a setting for the 
brighter and lighter tints, and a worsted cord 
of this color, or of all the tints combined may 
finish the edges. 



NeeDLG-ci^AFr. 



195 



t 



T. 






■ I . I r-T- 






CHAPTER XXX. 



ALPHABET FQR MARKING. 



J> 




.^i- 



-)K- 



r IS essentially a womanly weak- 
ness to like one's initials upon 
one's belongings, but she — that 
mysterious and universal she — has 
also cultivated this pretty taste in ' 
her brothers and father and hus- 
band by making them gifts of silk 
or linen handkerchiefs, with the 
letter or letters deftly embroidered 
in one corner. There seems something es- 
pecially womanly in this work, and the con- 
stant demand of the fair workers is for new 
designs in letters and new combinations in 
coloring. 

While the letters are more mediaeval when 
done in wonderful browns, and sages, and 
blues, and scarlets, still it is well to remember 
that white washes the best, and that no other 
color can be cited as infallible. Ne.xt in 
order to the white comes scarlet and then 
sage, but the best blues and browns will be 
apt to grow dingy and disagreeable-look- 
ing. 

Those who have had much experience in 
using various embroidery materials make it a 
rule not to use two different makes or brands 
in the same piece of work, even though they 
may seem identical in color, twist and texture. 



because the process of working or the effect 
of laundering is sure to emphasize any differ- 
ences which may exist. They affirm that this 
rule is especially applicable to embroideries 
which are liable to form acquaintance with 
soap and water, though quite worthy ot con- 
sideration in the use of silks, chenilles and 
arasenes, some being quite close and somewhat 
stiff, while others are loose and flexible. The 
eye of the needle should be large enough to 
permit of the thread moving freely in it and 
the point sharp enough to penetrate the 
fabric easily. 

Alphabet No. 1. 
The letters here shown are sufficiently 
artistic to appear as if they had been copied 
from some old missal where they had been 
gorgeously illuminated. The outlines of the 
letters are done in plain over-and-over and 
stem stitch, while the inner portions are in 
seed stitch. Individual taste must govern 
largely when combinations of coloring are 
used, but it would seem proper to make all 
the outlines and the large dots of one shade 
and the small dots of another, or each of a 
different one. All white is, however, consid- 
ered in best taste. These letters are suitable 
for use on towels and table-cloths. 



196 



NeeDLS-CRAFT. 



iLL>3PHEJi.3B3ET ITO. 1. 






NeeDLe-ci^fiFr. 



197 




198 



NeeDLe-cF^fiFT. 




^ 2!t«*l 






-^mt 









4^ 






NeeDLG-CRAFT. 



199 





a 3 








NeeDLe-cf^AFi'. 





Alphabet No. 2. ferred. The method is simple, the embroi- 

Tlie letters here ilkistrated are intended for dery, being done by an over-hand stitcn, which 

marking handkerchiefs, napery, under-gar- increases in length to form the heavier parts 

ments, etc., and may be done either in white of the letters or what in ink would be the 

or colored embroidery, cotton or floss as pre- shading. It is well to fill in this portion with 




^A ■<«^,'¥ oft. ii 




-^ 




NeeDLG-C^AFT, 



running before making the embroidery, so delicate, while the leaves are fashioned in the 

that the latter will have a round raised sur- same manner as the thick |3arts of the letters. 

face. The finer portions are done with In transferring the designs the outside lines 

stitches taken through only two or three must be followed in every instance in order 

threads of the fabric, so that the lines will he to produce the requisite sizes. 





x^Y^'*'^^ 






>^ 







NeeDLG-CI^AFT. 



203 





Alphabet No. 3. 
The tiny forget-me-nots which give such a 
graceful, floriated effect to this alphabet may 
always be made in their natural colors when 
the letters are done in silk or crewels, but if 
it be desirable to use all white in working 
with cotton, no fear need be felt that the 
effect will not be good. Such letters are 



especially pretty for souvenir marking, but 
they are equally well adapted to napery, etc. 
White and colored floss and marking cotton 
are used in their development. The work is 
done in an over-and-over stitch and it always 
comes out most effectively, when the design is 
run with floss or filling cotton before the 
actual embroidery is begun. 



ii.Li3PeEJt3BKT' DSfO. 3. 









NeeDLG-cRAFr. 



205 






if 9 









It is to the proper filling-in of the raised por- 
tion of the work that finely executed embroi- 
dery owes mucli of its good effect. Too 
often this portion is slighted, because it is to 
be overlaid by the final stitches ; a smooth 
firm finish is not obtainable unless the filling- 
in be well done. Such work may be done 
rapidly after the necessary skill has been 
acquired, but the beginner should not 



permit herself to be controlled by a desire to 
do more than she can do well. Fine blue 
chenille makes very natural looking forget- 
me-nots, though, of course, it is not recom- 
mended for any article that is to be laundered. 
Two or three shades of blue may be intro- 
duced in making several of these dainty 
blossoms, as nature does not limit herself to 
a monochrome. 



,, gQ , OOr?C ' ' '>" 



206 



NeeDLe-CRAFT. 



AX^3PSEii.B3ET HO. 4. 











^ 



\ 












NeeDLG-CRAFT. 



207 














Alphabet No. 4. 

This alphabet is very artistically designed 
for working in outline stitch. Any article, 
whether for ornament or use, becomes em- 
phatically one's own when the monogram or 
initials are upon it ; and these letters are of a 
desirable size for all kinds of marking, and 
niav be used as initials or combiqed in mono- 



grams. The making of monograms has 
always been thought much trouble, but these 
artistic letters are especially adapted to the 
purpose, and may be associated in any way 
admired. Of course the space between the 
outlines may be filled in and worked solid if 
preferred, or French knots may be scattered 
through these open spaces with good effect. 



@®SI®S«S3®l«5!^^::g3t«®®i)© 



2o8 



NeeDLe-cp?AFr. 



&L3PBEiS.3BET TSTO. 5. 







.i?^ 






\ 













NeeDLe-CRAFT. 



209 













Alphabet No. 5. 
These letters are embroidered in satin 
stitch and French knots, and while not diffi- 
cult to do are elaborate enough to serve for 
marking souvenir or gift articles which one 



may wish to render particularly attractive. 
They are also adapted to handsome napery 
and may be worked all in white or in a uni- 
form color or a combination of tints, accord- 
ing to the fancy of the worker. 



"Vovi ar-o E«,r-n.ostly Ixx-^rxt-od to Try 

DR. SCOTT'S ELECTRIC CORSETS AND BELTS. 

Corsets, $1.00, $1.50, $2.00, $3.00. Belts, $3.00. Nursing Corset, Price. $1.50, Abdominal Corset, Prlce.$3.00. 

PrulxiMy never •tliicr llic Invriitloii »>f' <'or»i'lt* liitH no liir(c«- u <lfniiin(l been <Tfiiti'iI an n»\v <'\UtK for l>r. Soott'n KU-ftrlr 

Curnets und ItfiU. 0\ vr I C <M»« l.u<lli'« In tin- Clly of N*-w VorL nloni- urv now wi'urhitr tht-iii diillj. E^ vry Mon 

uikI Wuman. well or III. should dully wear i-ltlK>r the i'urnvt ur Ki-lt. 




A valuable 


Book, 


"The Doctor's 


Story," 


free to any one on | 


receipt of 


name 


and addre-s 





AX^' OF THE ABOVE, If you will mention "Needle-Craft " will be 
SENT ON APPROVAL, post-paid, on receipt of price, with 30 cents added 
for paekinK or registration, and we guarantee safe delivery Into your hands. 
Monev wll| be refunded if not just as represented. Stat« exact size of waist 
when ordering Belt or Corset. Make all remittances payable to 




QXJICH CITKE. 



PROMOTES HEALTH STRENGTH & ENERGY. 



boo" ^X{^ / ^^t'5)^'^^ 

R H E U M A T I S M^^^-Am^JM^iaH ■ .'■Pllt 
INDIGESTION * Itm T i *» 

NATURES OWN REMEDV. 

NERVOUS /iFFECTlONS. 

All ladles are earnestly requested to trj- our beautiful 
Electric Corsets. They are similar in look and shape 
to the best kind of ordinary Corsets and are no more 
exjH'nsIve. 

I'ri'fi ssional men a.ssert that there is hardly a dis- 
ease A\'bich Electricity or Magnetism may not benetlt 
or iLitf, and they ilaily practice the same, as your own 
pliysician wili iiifurm you. 

A celebrated New York physician lately lectured 
uix>n this subject, and advised all medical men to 
make trial of these aKcncIes. describing at the same 
time mi.i.-;t remarkable cures he had made, evt-n in 
ca.se>- which would seem hopelcf-s. 

A valuable book "The Doctor's Story." mailed free 
to any address i.iostpald, on receipt of address. It 
contains much valnable information. 

Heads of families should adopt this practicaK posi- 
tive and Inexpensive nunhod of treatment and save 
those "big Doctoi-s Bills." 

PRICE LIST. 

Resular Standard Belt, ...full pnwer. $:!.00 

Kxtrifline Sjitcin B^t, " ".OO 

?icrvf und i.unts liivleoralor, — " ^S A 10.00 

c«r-tt»« »i.«o, i,r,o. aoo. K.OO 

HuiiUrurtiicM 1.00, i.r.o. a.f»o, «.oo 

FIc.*h BruHhes, ».00, 5.00 

<ht".| I'r«tfotor, full power, K.OO 

Tlirout '• '* a. 60 

Kfiutle AppUaitve, *' X.OO 

Leie " " 5.00 

Shuu'.der " " ft.OO 

Kiieo Cnps ** ft.OO 

Anklet*^ " «.00 

\Vrl(*tlet», " a-.%0 

InAoU-H. all sizes, per piilr, *' .50 

Offlte Cop«, tfiJ.OO: J^k'iplnc C'npw, 8.00 

lliiir CupIlt. i*if elH.: InuUiRrimh ,%0 

Impru ved Elastic XrunHCA, !Sln|ele« ■? tt.OO 

" •• " l»ouble, G.OO 

TO CURE PAINS AND ACHES 



o o o o q ?, " ri.'p.rr ** '.o o o o o o 
o O.J o .'pfp Vi^'"^^** ° ° o .o o o 

::: DmscoTi's:::| 

lELfGJRlc PLASpiJ 

t°-:.::RmcE:25V:TT: 



Of all DniRRists, or will be mailed, post-paid, on ir-- 
ceipt of price. .'> plasters for $1, for family 
use. They annihilate painsaud aches. Stamps taken. 



GEO. A. SCOTT, 842 Broadway, New York. 

-Each article is ylamped with the English coat-of-aniK* and the nainc of the proprietors. 



N. B.- 



TliE PALL M:A.LL ELECTRIC ASSOCI ATION. 



NeeDLe-CF?AFT. 



>^ .g;;g^■^^;;g^.■^ ?;:g^^r ^M::^l^^■■^-i?^:^H?>t^ 



^* 



//.;.;.v.v.v.v.y.[-^^iJ^^ 

iiimiiiiiimiiiiiiilitiniiiiiiiimraiiiiiiii 



CHAPTER XXXI. 



REGEPTAGliES FOR SH0ES, UMBRELLAS AND GANES. 





HE articles illustrated 
in this chapter, will 
without doubt be 
much prized for their 
usefulness and the 

1^ tasteful manner in which they 

">• are developed. 



Shoe-Bag. 

Figures Nob. i and 2. — These 
engravings illustrate a handy and pretty re- 
ceptacle for shoes, slippers, etc., Figure No. i 
showing the bag closed and Figure No. 2 
showing it open. The material is canvas, and 
the lining is Silesia. The outside is cut long 
enough to fold over and form the covei', 
which is nicely curved at its edges and held 
down with a loop passed over a button ar- 
ranged as pictured. The pockets are formed 
of a straight section of the canvas lined like 
the outside. Two box-plaits are formed on 
the under side about midway between the 
center and sides, and the section is joined at 
its sides and lower edges, and also down the 
center of the plaits, which give the pockets 
the needed spring. A row of wide velvet 
ribbon is stitched along the top of the pock- 
ets, and the lower edge is decorated with 
short strips of narrow velvet ribbon of alter- 



nating lengths. The outside of the cover is 
similarly decorated with strips of the narrow 
velvet ribbon, and the owner's initials or 
monogram in embroidery or metal may deco- 
rate the cover. Any preferred material strong 
enough for the uses of the article may be 
selected, crash, linen, towelling, cretonne^ 
etc., being much liked. Fancy stitching may 
be applied as decoration instead of the velvet 
ribbon, or all the edges may be bound with 
bright-hued ribbon or braid. 

Decorated Shoe-Box. 

FiGtJRF; No. 3. — The ever useful shoe-box 
— and in this instance a well-dressed one — is 
here pictured. Of- its utility every woman 
knows, and its admirers are many in number. 
An ordinary box is lined with pink satin and 
has pale-blue satin on the outer side, and on 
the latter are arranged flowers cut out of pink 
satin and slightly wadded. The middle of 
the flower is made by a knot stitch of tinsel 
thread, and the stems are formed in the same 
way. A cording outl'ines the box and con- 
ceals the sewing. If preferred, the entire box 
may be covered with sateen, and the flowers 
may be of the same material. The size for 
the petals of the flowers on the box is given 
at Figure No. 4. 



NeeDLS-CRAFT. 




ibkfeliityiihltltititltttltfeltltlttttiUd 



KiouKic No. I. — Smde-Baij — Closkii. 




I'lGURE No. 3. — Decokated SilUE-BoX. 



Figure No. 4. — Section ok 
Flower on Shoe-Bo.k. 



NGeDLG-CI^flFr. 



213 




Figure No. 5. — Umhrella- 
and-Cane Pocket. 



Figure No. 6. — Embroidery Design for Umbrella- 
and-Cane Pocket. 



214 



NeeDLS-CRllFr. 



Section of Flower on Shoe-Box. 
Figure No. 4. — The design for one petal 
of the flower on the shoe-box is here sliown. 
Care should be taken that the petals are all 
of one size ; if not, the effect will be irregular 
and undesirable. 

Umbrella-and-Cane Pocket. 

Figure No. 5. — The back of this handsome 
receptacle for the umbrella and walking-cane 
is made of heavy cardboard, that is covered 
smoothly on the outside with cloth, linen can- 
vas, crash, felt, Silesia or any preferred mate- 



silks, and fancy stitches also decorate the 
lower part above the band of wide ribbon that 
neatly completes the end. A long loop of 
narrow ribbon is fastened to each upper cor- 
ner, by which to hang up the pocket, and a 
rosette bow of wider ribbon is attached to the 
end of the left loop ; while a bow of long 
loops and ends of ribbon is tacked over the 
end of the right loop. A cane and umbrella 
crossing each other are embroidered on the 
center of the pocket. The outline of this 
design may be seen in full size at Figure 
No. 6. 




P'IGURE No. 7. — Umkrei.i.a-Case. 



rial, and on the front side with any of the 
fabrics mentioned or with silk, plush, pongee, 
etc. The front portion is of fine felt cloth 
and is cut wider than the back and curved out 
deeply at the top. It is joined to the back 
at the sides and lower end, and is faced on 
the outside to the depth of a wide hem at the 
lop. Along the lower part of the facing are 
grouped in an ornamental manner fancy 
stitches done with vari-colored embroidery 



Embroidery Design for Umbrella -and - Cane 
Pocket. 

FicuRE No. 6. — This design is embroidereo 
on the lunbrella and cane pocket illustrated at 
Figure No. 5 in this chapter. It is the 
proper size for the decoration, and may be 
done in outline or Kensington stitch, as 
preferred. Wood-brown, dark-blue, black or 
any preferred color or colors may be used. 
Usually, the cane will contrast with the um- 
brella. 



NeefiLe-ci^AFT. 



215 



Umbrella- Case. 
Figure No. 7. — This case includes a back 
portion and two pockets made from jean, felt 
cloth, heavy canvas, burlaps, reps, or any suit- 
ably heavy material. The side edges of the 
parts are joined and then bordered with 
bright-colored braid machine-stitched on, the 
braid being arranged in a similar manner 
about all the edges. The pockets may be cut 
separatel)', but the case will be all the 
stronger for cutting them in one piece. In 
either event stitching catches them to place 



down the middle, and a row of the braid is 
placed over the fastening to correspond with 
the finish at the sides. The pockets may be 
decorated with embroidery done in the South- 
Kensington outline-stitch, or they may have 
the owner's monogram embroidered upon 
them. A loop is fastened at the top of the 
back at the center, to suspend the case on the 
wall. Such cases will be found an excellent 
protection for nice umbrellas, are really very 
simple in construction, and require but little 
lime to make them. 



Laiiip-Slnifles. 



A PRETTY shade for a piano lamp that is to 
stand in a room where ilie general effect is 
light and dainty, is of pink satin, bordered 
with a flounce of pink lace, and trimmed w ith 
pink clover-blossoms and delicate green 
grasses, branched with a few ferns. As the 
shade is mounted on a wire frame having but 
few supports between the outer ring and the 
small one at the top, the satin is lined with 
thin pink tarlatan to give it a little firmness. 
The fulness is drawn into a frilled hearling, 
at the smallest portion and the floral decov;i- 



tions are arranged with careless grace, and 
yet in such a way that no fear of their slip- 
ping out of place need be entertained. A 
pretty gradation of tints which harmonizes 
with almost all colors seen m draperies, up- 
holsteries, etc.. is in three shades of yellow. 
One which is to shade a table lamp in a white 
and gold room is of white silk with a fringe of 
gold-colored silk. An orange shade, with 
white lace for its garniture, is effective upon 
an iron lamp, which is to stand in a room fur- 
nished in rather dark colors. 



r\ 



aiTTITiniF^'^^TI]]] 111 1123 



2i6 NeeDLe-ci^HFT. 



•^■-^ /^-n ^^1^ ■■'^-•"^ -^-^ -^ """^tf 



^^^ ^ 






Sluiiiber I{olls. 

Some, of them, which are really very hand- 
some in the hand, seem to lose their beauty 
when attached to the chairs they are sup- 
posed to make comfortable. If not properly 
adjusted, they are not apt to impart either 
beauty or comfort. One shaped like a diminu- 
tive round bolster is attached to a chair of an- 
tique oak as follows : The roll, which is covered 
only with muslin, is firmly tied to the back of 
the chair with linen tape, securely fastened at 
its ends and center. A scarf of India silk, 
twenty-seven inches wide and a yard and 
three-quarters long, is then wound in and out 
about the framework of the chair-back so as 
to cover the roll in loose, graceful folds. 
One end of the scarf is hemmed and caught 
up at its corner so as to form a sort of loop, 
while the other is bordered with a fringe of 
spun-silk tassels and falls in a graceful cas- 
cade of folds. 

Crescent-shaped slumber rolls may be cov- 
ered to serve as scarfs by allowing considera- 
ble e.xtra length at each end of the cover, and 
width enough to give a graceful fulness. 

A pair of oblong cushions hung in saddle- 
bag style over the head -rest may be made 
very ornamental without extra work if they 
are covered with flowered silk or cretonne, 
and tied on with ribbons. The one which 
hangs over the back need not be filled with 
anvthing betier than e.xcelsior inside a layer 
of cotton batting. 



-^ -^ 



NeefiLe-CRflFT. 



217 






^*^4^S^^*^%|^\|@)-; 




CHAPTER XXXII, 



IMFANT'S (lARR'IACE-PILLQW Md BLAHKET. 




Infant's Carriage-Pillow. 

IGURE No. I.— This 
dainty head-rest for Baby 
while enjoying an after- 
noon airing in his carriage is 
made of white Surah, upon 
which are embroidered grace- 
ful sprays of small flowers that look as if they 
had been just showered on the pillow. The 
sprays may be merely outlined, or they may 
be embroidered solidly or worked in the 
South-Kensington stitch ; or, if desired, the 
flowers may be made of ribbon. Hand-paint- 
ing is also effective. A frill of deep lace, 
headed by a ruche of fringed-out Surah, trims 
the pillow all around; and the result is soft 
and delicate. Of course, the pillow is made 
of down, feathers or whatever is preferred, 
put in a case of stout fabric and then covered 
as pictured. Delicate blue or pink or any 
other shade of Surah or silk may be used 
instead of white ; and the lace may be of any 
preferred variety. The sprays may be made 
of applique ornaments, with good effect. 

Sprays in South-Kensington Outline-Stitch. 

Figures Nos. 2 and 3.— These pretty sprays 
decorate the infant's carriage-pillow pictured 
at Figure No. i. In this instance they are 



worked in South-Kensington outline-stitch, 
but may be solidly embroidered if preferred. 
The sprays may be embroidered on any arti- 
cle of ornament, with pretty effect. 

Figures Nos. 2 and 3 show two of the 
sprays in outline-stitch. Figure No. 5 shows a 
spray solidly embroidered in South-Kensing- 
ton stitch, and Figure No. 4 shows a cluster of 
blossoms done with ribbon. All these sprays, 
worked in either manner, are pretty for adorn- 
ing the pillow represented. 

Cluster of Flowers Made of Ribbon. 

Figure No. 4. — Very narrow ribbon is used 
for the flowers, and the stem is done with 
floss. Each petal is formed of a section of 
ribbon, and the center is composed of knots 
of floss. The work is very simple, but re- 
quires care to result well. It may be done on 
•cloth, plush, velvet, silk or satin, and results 
handsomely. 

Spray in South-Kensington Stitch. 

Figure No. 5. — This spray forms one of 
the bits of adornment on the carriage-pillow 
pictured at Figure No. i. It is done in the 
well-known South-Kensington stitch, and is 
just as suitable for the adornment of lambre- 
quins, table-scarfs, etc., as for the pillow. 



2l8 



Neei)Le-cHAFr. 



Baby's Blanket. embroidered on it in white. Hlue-ancl-wliite 

]''i(;(:re No. 6. — In the engraving is shown and pink-and-white are dainty colors for these 

a dainty blanket formed of a square of cream- blankets. Flannel, smooth clotli, eider-down 

white camel's-hair cloth powdered with yellow cloth and camel's-hair are the preferred nuite- 



_ ~^^rj^^p-*=r 




FrcuRF Xo. 1.— Inka.\t".s Carriace-Pii.i.ow 



daisies done with embroidery silk. The rib- rials, and sometimes pale, delicate colors, 
bon is tiie pale gold shade of the daisies and such as blue, pink and yellow, will be cliosen. 
is blind-sewed on, the word " Baby " being 'I'he edges are generally pinked. The daisies 



NeeDLs-CRiiFr. 



!I9 





Figure No. 4. — Cluster of 
Flowers Made of Ribbon. 



Figure No. 2. 




Figure No. 3. 
Figures Nos. 2 and 3. — Sprays in South- 
Kensington Outline-Stitch. 




Figure No. 5. 
Figure No. 5. — Spray in South- 
Kensington Stitch. 



NeeDLe-cHAFT. 



may be done in colors to harmonize with the Word Decoration for Baby's Blanket, 

ground, and the ribbon may be of any pre- Figure No. 7.— This pretty lettering is for 

ferr€d varietv. tiie blanket illustrated below. It may be 



p--K, 




Figure No. 6. — Baiiy's BLANKtr. 




Figure No. 7. — Word DECOR.vriON for Baby's Blanket. 

The proper size for the word " Baby " to done in outline, Kensington or satin stitch 
be embroidered on the blanket is given at with floss or metal thread, or it may be hand- 
Figure No. 7, and it may be easily traced. painted. 






NeeDLe-CF^AFT. 






CHAPTER XXXIIL 



FANGY-a50RK /\PR0NS 




FIT comjianion to the work- 
basket is a fancy-work apron, 
i/(J%. and much artistic taste is now 



flimjrS^? expended on this garment to make 
i,iVS*',», it a bit of loveliness to the eye 
and a dressy contribution to the 
toilette. All kinds of dainty fabrics are used 
for its construction, and there is no limit to the 
beautiful effects to be achieved with ribbons, 
embroidery, lace, etc. 

Fancy Apron. 
Figure No. i. — This dainty apron is made 
of scrim. It is hemmed at the side edges and 
more deeply at the bottom, the hems being 
cat-stitched to position. Above the hem at 
the lower edge threads are drawn crosswise 
for three rows of ribbon, w-hich are run in and 
out in the usual way. The ribbon is of a 
pretty heliotrope shade, and so is the embroi- 
dery silk used for the stitching. The top of 
the apron is gathered and joined to a belt 
that is extended to form long ties, which are 
bowed at the back. A row of cat-stitching is 
made along the top of the belt, and a bow of 
ribbon wider than that across the bottom of 
the apron is fastened to the belt near the left 
side. On the right side of the apron is a 
handkerchief pocket in patch style ; a hem 



pocket, and cat-stitching is also used in apply- 
ing the pocket. Ribbon is run in the pocket 
just below the hem, and a small bow of simi- 
lar ribbon is tacked to the center of the 
pocket. The ribbon may be of any color 
preferred, and the stitching may be feather, 
brier, herring-bone, etc., as preferred. 




f'iGURE No. I. — Fancy .Xi'ron. 



Words to Embroider on Fancy-Work Apron. 

Figure No. 2. — These three words may 
be outlined on any fancy-work apron when 
cat-stitched to place finishes the top of the plain material is used for its construction. 



NSeDLG-CRilFl'. 



They are of suitable size, and the Kensington bottom, at the sides and across the top, a 

outline-stitch is used. On an apron shaped wide ribbon being inserted in the hem at the 

like that shown at Figure No. i the words top to draw the apron in and to tie about the 

could be embroidered on one side or about the waist. The hems are held with button-hole 

lower edge. Of course, they are also adapted stitches of yellow floss ; threads are drawn 



^rC^ 




/f^ <V^^ 



/C:^ 



\y<yl} \7 Vy 




r\ 



r\ 



KY> 



^ O 





</y^ .<Y^ ^ KVCN 



sy ^<>^ U 



^ 



Kif.uKK \o. 2. — Words to Kmiikoidkr on Kancv-Work Ai'Kox. 



to any other style of lancy-work apron, and abo\-e the bottom hem lo form three rows of 



crewels, flosses, silks, etc., may be used for 
outlining. 

Fancy Apron. 

Figure No. 3. — 'I'liis apron is pictured as 
made of scrim. A deep hem is made at the 



squares, whicli are filled in with long stitches 
of the floss radiating from the center to the 
edges. These stitches produce the effect of 
daisies and are soft and beautiful. Narrow 
ribbon the color of the embroiderv silk is run 



NeeDLG-CF^iiFT. 



223 



in to show in the openings at the corners of Fancy Apron. 

the squares. The stitches may be shaded Figure No. 4. — Linen is the material used 

blues, heliotrope, pink, scarlet, pale-blue or for this apron, the simple finish being a deep 

green. A row of button-hole stitching is also hem, with the threads drawn and caught in 




Figure No, 



-Fan'cy Apron. 




Figure No. 4.— Fancy Ai'Run. 



made across the apron at the top of the 
squares. E.xtreme care is needful in drawing 
the thread to form the regular effect which is 
so desirable to the good finish of the work. 



network fashion. Above this are Greenawav 
designs done in many colored crewels, while 
the belt is confined at the back by long lies 
of ecru ribbon. Pongee or Surah silk is often 



224 



Neei^LG-CI^ilFT. 



chosen instead of linen, but the ease with 
which the latter may be embroidered goes far 



Outline Design for Decorating Fancy Apron. 



FlGfRE No. 



-Whether the little Romeo 



to commend it to the amateur worker not as is here urging an invitation to the dance or 




Figure Xo. 5. — Outline Design for Decor.'vting Fancy Apron. 



yet certain of her success on finer stuffs, suggesting a cool and shady retreat, nobody 
The designs used in embellishing this apron can say, save the little maid who listens so 
are illustrated at Figures Nos. 5, 6 and 7. intently. Such designs would be particularly 



NeeDLe-CF^AFT. 



22S 



appropriate for hangings, for linen covers for a he dances forward to meet his partner. The 
baby's couch, or for the mantel drapery in a exact delineation of her gown and bonnet 
young girl's especial retreat. cannot but call forth admiration, and convince 




5^^\/ 



Figure No. 6.— Outline Design i-or Decorating Fa.nxy A 



v"CY Aprux. 



Outline Design for Decorating Fancy Apron. the lovers of the picturesque how much more 

Figure No. 6. — This sketch in outline- possible it is to draw pretty maidens than 

stitch gives the interested looker-on an oppor- graceful swains, e'en though the latter merit 

tunity to study the position of the courtier as our especial admiration. 



226 



NeeDLe-CRflFT, 



Outline Design for Decorating Fancy Apron. brought before llie mind's eye with very little 

Figure No. 7. — This pretty " treading " of trouble. Very quaint effects are obtained oy 

a measure is one of the outline designs that choosing tints the reverse of realistic for this 

decorates the lower edge of the No. 4 apron, kind of work. Very often the entire design is 




Figure No. 7. — (Outline Desil;.\ for Decoratixc. F.\ncv -Atron. 

It is done in crewels, and to the taste of the done in one color, and it is really wonderful 

worker is left the choice of colors. These how much originality of effect may be brought 

designs are given in the full size, so that they out by such uniformity. Any preferred coni- 

can be easily understood and the effect mingling of tints is, however, in order. 



NeeDLe-CF^AFT. 



227 




CHAPTER XXXIV. 



S0FA PlLL0a)S AND GUSHIGRS. 




^HE fashion of having 
couches and sofas pro- 
vided with pillows and 
pillows and pillows, cush- 
ions and cushions and 
cushions, leads to the de- 
velopment of beautiful articles into which the 
worker introduces whatever style of needle- 
work or variety of painting she is most profi- 
cient in doing. 

Sofa-Pillow. 

Figure No. i. — -A square of velvet forms 
the foundation for the top cover of this beau- 
tiful pillow, and is enriched with embroidered 
ribbons in different colors, arranged to pro- 
duce a plaided effect. The embroidery on 
the ribbons consists of crazy-stitches done 
with many-colored flosses, and produces a bril- 
liant effect. Silk cord borders the visible 
edges of the ribbon, and two rows of the cord 
border the edges of the square, being fanci- 
fully looped at the corners. The ribbons may 
be different shades of one color or of several 
contrasting shades. Two triangular pieces of 
very wide sash-ribbon, separated by a section 
of plusli, velvet or satin, to which they are 
united so that all form a square, may be util- 
ized for one side of a cushion or pillow, with 



good eiifect. Handsome brocaded ribbons 
are effective for this purpose. 

Sofa-Pillow. 

Figure No. 2. — This engraving illustrates 
an odd-looking but handsome sofa-pillow of 
garnet plush, old-gold plush and delicate blue 
satin. The band about the middte is of old- 
gold plush, edged at both sides with gold-and- 
garnet silk cord. The corner of blue satin 
is elaborately embroidered with embroidery 
silk, done in South-Kensington stitch. Cord 
borders the top of the embroidered section, 
and also the opposite end of the pillow. The 
pillow is shaped like a bag, and at its cord- 
bordered edge is deeply lined with old-gold 
satin, and the pillow is then tied closely about 
at the end of the lining with gold-colored satin 
ribbon, which is arranged in a rosette of long 
loops and ends upon the upper side. The 
result is both rich and elegant. Other colors 
in the same materials may be as effectively 
combined, and hand-painting or appliques may 
decorate the satin corner, instead of the em- 
broidery pictured. 

Sofa-Pillow. 

Figure No. 3. — The shape of this sofa-pil- 
low is such that one finds it espcially suitable 
to have it perfumed with lavender or violet. 



228 



MseDLe-CRflFT. 



the powder being thrown among its feathers the satin underneath, and, as it is drawn in 
or ilown. The satin cover is of a pale-bhie by a broad pale-bkie satin ribbon tied in a 
shade, and tlie velvet portion that apparently bow at one side, the likeness to a large sachet 




Figure No. i.— .Sofa-1'ii.:.ow. 



overlies it is of very deep crimson, liaving pas- is preserved. Wiiile very decorative and de- 
sion flowers in their blue shades worked upon cidedly beautifying to a room, it is well to re- 
it. The outlining of the points is done with member that such cushions cannot be coni- 
liale-blue silk cord, and the frill at the top is mended for any other purpose than the purely 
finished in the same wav. Tiie fiill shows ornamental. 



NeeDLG-CI^AFT. 



229 



Sofa-Pillow. long stitches across the surface of the pillow, 

Figure No. 4. — The brilliant combination which is like a gleam of sunshine in a pretty 

of white and gold is achieved in this lovely room. A frill of inexpensive white lace sur- 




FlGURE No. 2. — SOFA-I'lLLOW. 




Figure No. 3.— .Sofa-Pi i.low. 



pillow. The material is white India silk, rounds the pillow, adding to its dainty effect. 

on which the design pictured is stamped and Other colors may be combined in a similar 

then simply outlined with bright yellow filo- way, and the lace may be of any preferred 

selle. Threads of the bright color show in variety. Sometimes the designs on the pil- 



23° 



NSeDLe-CRAFT. 



lows are tv/ (T/J/Z/i////, but they are not so dainty It is embellished with leaf-sprays and blos- 



as that pictured. 



Fancy Sofa-Pillow. 



Figure No. 



This engraving illustrates 



soms cut from cretonne and embroidered all 
over in Kensington stitch, done with colors 
exactly matching those in the design. The 
corners of the cushion are covered with corner- 



,^^'. 



1^ 




Figure No. 4. — Sijka-I'ij.i.ow. 




Figure No. 5. — Fanxv Soka-1'ii.i.ow. 

a very effective sofa-pillow. The center-piece pieces of antique lace, and about the joinings 
is of silk arranged so that its corners come of the corners and center-pieces is a narrow 
midway between the corners of the pillow. plaiting that is pressed over its seam. A row 



NeeDLe-CRfipr. 



231 



ot pompons edges the pillow, those at the cor- velvet, plush, satin, cloth, etc., and similarly 
ners of the pillow and the center-piece being decorated. A design may be cut from any 




1'Ii;l-re No. 6.— Suia-I'jllow. 




FiGURK No. 7.— Fancy Pillow. 



larger than the others. The entire center- preferred piece of cretonne and similarly 
piece may be of cretonne, or it may be of applied, with pretty effect. 



232 



NeeDLe-CRflpr. 



Sofa-PiUow. square is einbellishod with oak leaves cut 

Figure No. 6. — The liandsome sofa-pillow from tlie velvet and applied with filoselle. It 

here illustrated has a center square of corded is bordered all round with cord arranged in 




FrouRE No. 8. — -Soi a-1'illow. 




i-n.ruE .No. 9. — rMjiA-l'ii.i.iiu . 

silk and a band-like border of velvet in a very loops at the corners, the middle loops being 
strongly contrasting shade, the silk being pale- interlinked by similar loops arranged at the 
gold and the velvet golden-brown. The outer corners of the pillow, which is edged all 



NeeDLG-ci^AFr. 



2Z3 



round with cord. The decoration is very ef- 
fective and very artistic. The back of the 
pillow shows the shade of the silk. Green 
velvet may be used with pink or blue or with 
light golden-brown silk; and if one has artis- 
tic ability, the leaves maybe tinted in Autumn 
colorings. Any preferred variety of leaf may 
be chosen for application. 

Fancy Pillow. 

Figure No. 7.— This exquisite pillow is of 
dark-green velvet, with its upper corner of 
cresson, forming a decided contrast and sug- 



much nicer and be very suitable to have down 
fill the case. 

Applique is how much used as a decorative 
item in preference to hand-painting and em- 
broidery, although these have by no means 
lost favor in the eyes of art-lovers. 
Sofa-Pillow. 

Figure No. 8.— The dainty sofa-pillow 
here represented is a charming illustration of 
this beautiful work, and is made of garnet 
plush and heliotrope satin. The center is a 
square formed of two triangles, each made of 
strips of plush and satin joined together, and 




Figure No. 10.— Fir-Pillow. 



gesting a scale between the two shades. In 
the lower corner is carefully applied a beauti- 
ful cluster of water-lilies, specimens of manu- 
factured silk-embroidered applique's, and un- 
derneath them in outline-stitch the worker has 
an opportunity with her needle to portrav the 
water in which they grow. After being made, 
heavy silk cord in a golden shade is used for 
outhning the pillow, and a prettily made bow 
of green satin ribbon is placed in the upper 
corner to bring out the cresson shade as well 
as add to the beauty of all the rest. By-the- 
bye, it is well to remember that it will make it 



having their seams covered with pale-pink 
floss in herring-bone stitch. The strips in 
each triangle are differently arranged, so that 
a stiff, set appearance will not be produced. 
The cushion is made octagonal in shape by 
hexagonal sections of plush and satin arranged 
alternately all around the square. In each 
section a flower design is appliqueed, and these 
may be different in every section or only in 
the alternating sections, as preferred. If a 
delicate effect be desired, the flowers may be 
of velvet or plush, and the stems and leaves 
may be formed with floss in the South-Ken- 



234 



NSeDLe-CI^iiFT. 



sington stitch. The colors for the cushion may under a large rosette bow of ribbon. The 
be any two most pleasing to the worker's taste, leaves and stems of the sprays are done in the 
and may be delicate or brilliant, as preferred. Kensington stitch, while the daisies are 

worked in a loop stitch. The centers of the 

Sofa-Pillow. daisies are usually done in the well-known 

Figure No. 9. — This handsome sofa-pillow knot-stitch. Any desired material may be 




Fir.rRK Xo. 11. — Ix'^rRirxioN kor FiR-rn,i.n\v. 
is made of garnet velvet, and is shaped in the made into sofa-pillows, and the design may be 
usual manner. It is edged all around with either painted or embroidered, 
garnet-and-gold cord, that is also very orna- 
mentally looped at the corners. On one side Fir-Pillow and Inscription for Decorating It. 
is embroidered artistically grouped sprays of Figure Nos. 10 and 11. — A fir-piUow with 
daisies, that are seemingly tied to one corner its delightful woody aroma is a delight to 



NeeDLe-CRAFr. 



235 



most people. Such a pillow is here illustrated. 
The cover is of pongee silk in its natural 
tint and the filling is young cones and twigs, 
cut with a pair of sharp scissors from the par- 
ent bough while they are still filled with the 
pungent, agreeable odor which they give out 
so freely after being dried. Upon the cover 
the inscription " Dreams of the Forest," is 
worked with brown silk, the words being ar- 
ranged so as to permit of increasing the dec- 
orative effect by the addition of young cones 
and fir twigs, which are worked in pine green 



chenille and appear to have been carelessly 
scattered over the surface. 

Figure No. ii. — The words composing 
this inscription are of the proper size for dec- 
orating a cushion and are worked in outline 
stitch. Embroidery silk, crewels, gilt thread, 
metal cord or any working material harmon- 
izing with the material made up may be used 
for them, and this arrangement of the w'ords 
may be varied to agree with the position of 
whatever other decoration is wrought upon 
such a pillow. 



^ Couple of PiUui-Le^if Eai]s. 



Thev form the back of a wall pocket, as 
novel and pretty as it is useful. Eacli fan is 
doubled lengthwise until its outer edges meet. 
These edges are tacked firmly together to 
preserve the shape thus produced, and the 
two fans are placed against each other with 
their centers meeting, and are held in this 
position by a tacking at their lower extrem- 
ities and a string wound tightly about their 
handles. The front of the pocket is formed 



of a piece of pasteboard covered \Vith plush, 
and the cornucopia shaped openings formed 
by the folded fans are filled in with puffings 
of silk. The handle is covered with silk or 
plush, and all the edges are finished with a 
thick silk cord. The pocket is suspended by 
a ribbon bow or a loop of cord, and the appear- 
ance is much more attractive than when a 
single fan forms the back, while the cost is 
increased only the merest trifle. 



^ r^ !)f o !}{! -Y,''-.".-Tf' 9? '^ ")? ■'^' -58 
rScVXVX VXVX V^'ip-'-.-SpVxVX VXVX VXl (Ti , 

ix I X t X I X I X I ^>.-;^> I X I X I X I X 1 yj'i ssL^ ji 



I X 



X IXl X jx Xi 



^^^5^X I X j X I X I ^ I ^V . ■\.yj\ I A I /i [ ^ I ?^ I K ^^^^ 

''CS »AXAXAX/sXAr-**--;.T'^'';/NXAXAXAXAS:' <t)^ 



^#r 



PeLIHCATOR 



\5) 



/} ]y[nnthli| ]y[a9a2m£ nf paahinn, gulturE and pine /]rta. 

V "TT^A CH issue contains illustratioiis and descriptions of Ctii'rent and 
\ J— J Incoming Styles for Ladies, Misses and Children, articles oti the 
7iczvcst Dress Fabrics and Novelties in Trimmings, and representa- 
tions of the latest ideas in Millinery, Lingerie and Fancy- Work. 
In addition there are papers by practical xvriters on the House- 
hold and its proper maintenance, and a selection of entertaining and in- 
structive reading on the Elegancies of Life. 




n 



erms "'or this \ ubiicatlon ; 



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NeeDLG-CF^AFT. 



237 




>»J !-« kij .'— 




CHAPTER XXXV. 




T'lDlES ARD FAPGY MATS 



^„/,RA\VN-WORK in all its differ- 
wft ent varieties is in great favor 
Z^A^ for chair-scarfs, tidies and all 
the odd but numerous belong- 
ings of a room to which it may 
be adapted. On scrim the 
threads are caught and the 
weaving process arranged by the use of very 
narrow ribbons specially sold for the purpose, 



gamut to the deepest shade ; and occasionally 
they will offer a contrast, pink and blue, 
crcssoii and shrimp, and orange and brown, 
being much liked. 

Scrim Tidy. 
Figure No. i. — A tidy or cover for a cush- 
ion. I'he scrim is drawn at regular intervals, 
and the ribbon run through is orange satin, 
the lightest shade being first and a very deep 




Figure No. i. — Scrim Tidy. 



and which are easily drawn through the eye tone being reached in the last row. Where 

of a worsted needle. Sometimes all the the ribbon ends a loop is arranged, and rests 

rows of ribbon will be of one color; again against the fringe formed by fraying the edges 

they will start from the lightest and run the of the cover. Such tidies or covers are usu- 



238 



NeeDLG-CRAFT. 



ally placed in diamond shape on a cushion the instance are Autumn foliage, including 

color of the ribbon, and in this instance the sumach leaves and blossoms, both of which 

cushion could be of satin in a light yellow are described and shown in the required size 

shade. at Figures Nos. 3 and 4. 



Scrim Tidy. 
Figure No. 2. — This handsome tidy for a 



Sumach Design for Scrim Tidy. 
Figure No. 3. — This pretty design forms 




Figure No. 2,— Scrim Tidv. 



chair or table is made of fine scrim, hem- 
stitched all around. Crossing the center botli 
ways is a narrow section of scrim hemstitched 
to position, the threads being drawn in the 
usual way. In each of the large squares thus 
formed contrasting designs are embroidered 
with flosses. 'J"he designs employed in this 



part of the embroidery elaborating the tidy 
shown at Figure No. 2. The sumach flowers 
are done in the knot and filling-in stitches. 
The leaves are worked in South-Kensington 
stitch, and may be green or may show the 
brilliant tiniings which Autumn gives them, 
as best liked. 



NeeDLG-ci^AFr. 



239 



Autumn Leaves for Scrim Tidy. are brown, gold and olive, or red, gold and 

Figure No. 4. — This graceful spray of olive. If desired, the entire spray may be in 

leaves is worked in South-Kensington stitch olive tints, to suggest young leaves, and may 




Figure No. 3. — Sumach 

Design for Scrim 

Tidy. 



Figure No. 4. — Autumn 
Leaves for Scrim 

TlDV. 



.^-S^^JJI^^I^ijC^^^ 




^mIm. 



Figure No. 5. — Fancy Tidy. 

in brilliant flosses or crewels. The colors be embroidered on plush, velvet, cloth or any 
that blend well and naturally in such leaves fabric. 



240 



NeeDLe-CRAFT. 



Fancy Tidy. 



velvet, satin or silk, or one shade of velvet 



Figure Xo. 5. — Tliree oblong sections or pliisii with two ciifTerent shades of silk or 




l-icU'KK No. 0. — Fancy Mat. 




Figure Xo. 7. — Tuiv, with Painteu Japanese Center. 
which may combine three shades of plush, satin, are comprised in this beautiful item of 



NeeDLG-CI^AFT. 



241 



decoration. The sections are neatly joined White lace may be used instead of black, and 

by over-and-over stitches on the under side, ribbons of any desired hue may be selected, 

and the joined portions are bordered all Sometimes the centers of purchased tidies are 

around with some pretty lace, which may be appliqueed upon linen, canvas, etc., and these 

e.xpensive or not as desired. The sections are less e.xpensive than the painted ones, 
are embroidered with different designs, the 



center section being more elaborate in its 
work than the other two. A band of wide 
ribbon, embroidered in a pretty vine design, 
crosses the center section diagonally, the em- 



Fancy Tidy. 

Figure No. 8.— A tidy, suitable for the 
back of a chair or the arm of a sofa, is here 
illustrated. A square of velvet forms the 



broidery upon this section being done so as f„,,„Wot;^„ „ui i .• -n a 1 <: 1^ 

•' ^ * loundation, although satni, silk, flannel, felt or 

to appear to be partly concealed beneath the -i„,k „, 1 „ 1 • ^ 1 t^ • 1 

' '^ 1" .? cloth may be used instead. It is crossed 

diagonally by two strips of ribbon, one of 

Fancy Mat. which should be either blue, orange, red or 

Figure No. 6.-This pretty mat may be 'i")' °'^^er color desired, while the other 

used under a lamp, vase, etc. It is of deep- sh°"''' ^^ ^ direct and bright contrast in 

purple velvet and has a border decoration of '"'^°'- I" ^'^'s instance one is sapphire-blue, 

pansies in purple and gold, with their foliage. ^"^^ *^ °"^^'' '^ S^''' ^°^'''- «" "^« '^^"er 

The decoration is c-n applique', and is one of ^""^ arranged tiny squares of velvet, which are 

the manufactured silk appliques, of which over-stitched in coarse blue silk-floss, the 

there is a large assortment on the market. ^'"'S" ^eing clearly illustrated by the en- 
graving. The edges of the yellow strip are 



Large artificial pansies such as are used in 
millinery are sometimes employed as a border 
for such mats. Asters or any flowers that can 
be arranged to lie flatly may also be used as a 
border for a fancy mat that is not liable to 
frequent disarrangement. 

Japanese Tidy. 



fastened down with blue floss in star-stitch, 
while the blue ribbon is caught in the same 
way with gold-colored floss. Narrow-, loz- 
enge-shaped strips of vehet are arranged 
crosswise on the blue ribbon, and llie em- 
broidery over and around them is done in 
gold-colored floss. Tiny flat buttons of the 
Figure No. 7. — The fancy for Japanese satin ribbon in both colors are arranged on 
art is expressed in a variety of ways and the angles of the crossing of the ribbons, and 
finds many charming exponents in articles of they are also crossed with floss and otherwise 
household decoration. An unique specimen decorated as represented. The whole tidy is 
of it forms the center of this tidy. This por- then bordered with lace, which may be of an 
tion of the article can be bought all ready for antique pattern or of any design preferred, 
use, or, if a person have considerable skill Antique lace for bordering tidies of silk, 

with the brush, this design or any other can satin or blocks of the same lace, conies in 
be reproduced upon silk. Two bands of satin pretty patterns and at moderate prices. 
ribbon in contrasting colors are now applied The blocks are about six inches square, and 
as a border, their edges being joined by dif- no two are alike. Two of them, and two 
ferently colored silk in perceptible stitches of satin blocks of the same size ornamented like 
any kind. Outside of this is a border of the large tidy described, would form a hand- 
black lace, stitched on in the same way. some tidy if bordered with antique lace. In 



242 



NeeDLG-ci^AFr. 



joining them, the lace and silk blocks come at shown in the engraving. The silk is pale 



the diagonall)' opposite corners. 

Fancy Tidy. 
Figure No. 9. — This dainty piece of work 
is formed of an oblong section of silk, all the 
edges of which are fringed out neallv. Inside 



blue, the ribbon black, and the stars yellow, 
while the floral decoration is one of the 
current manufactured appliques, represent- 
ing Marechal Neil roses and their foliage. 
Scrim forms a pretty background and would 
be less expensive than silk, and a pretty effect 
the fringe the edges are bordered with three might be produced on it by having purple vel- 




FiGURE No. S.— Fancy Tidv. 



strips of velvet ribbon, which are pointed at vet ribbon and an applique of clustered pan- 

the ends and extend the full breadth or width, sies. Daisies cut from white lamb's-wool 

as the case may be ; the lower ends of the cloth might take the place of stars, with pretty 

lengthwise strips falling a short distance effect. 

below the fringe. These ends are tipped Canvas Tidy. 
with silk fringe matching the stars holding the Ficure No. 10.— Tidies are greatly diver- 
ribbons where they are crossed. A cluster of sified in material and pattern, and certainly 
roses with realistic foliage is applique'ed as reward the ingenious maker liy their beauty 



NeeDLG-CF^AFT. 



^43 



and usefulness. The one illustrated is com- Though the combined eiTect of the colors is 
posed of white Java canvas and two colors quite Oriental, yet the design is of the 




Fic.uRE No. 9.— Fancy Tidy. 




Figure No. ro.— C..\nvas Tidy-. 
of ^vorst^d-cardinal and gclden-yellovv. simplest character, bein<; cardinal mar-uerites 



244 



NeeDLG-CRflFT. 



or daisies with yellow hearts. A reference to 
the engraving will best explain how they are 
worked, as all the threads of the canvas are 
fully delineated and may be easily counted. 
The design is of the proper proportions and 
size, and the fringe of the required length. 
The tidy may be made as large as desired, 
and when the marguerites are worked, the 
margin of the canvas is ravelled to form a 
fringe, the edge remaining being then over 
cast in button-hole stitch below a narrow 
cross-stitch design. Cardinal threads are 
next caught at regular intervals through the 
edge with a crochet-hook and firmly knotted, 
after which the fringe is " evened " along the 
ends. 

Canvas Tidy and Decoration with Diagram 
for Colors. 

Figures Nos. ii, 12 and 13. — Some- 
thing very pretty in the w.iy of tidies is here 
represented, and full instructions as to the 
colors to be used accompany the illustration of 
the article. As the tidy is designed princi- 
pally for the backs of large chairs, arms of 
sofas, etc., it is ingeniously cut in a half-square 
of the triangle shape. The bias edge is plainly 
hemmed so as to make the tidy look as if 
folded under, and the edges are finished with 
a fringe of worsted, each tassel being drawn 
in by three stitches and then cut off at an 
even and desirable length. The extra canvas 
under the fringe is then cut or ravelled away. 
The butterfly is done with single zephyr, in 
the shades indicated by the line of blocks, 
and named according to the corresponding 
blocks in the design. To make it very showy 
four threads of canvas are taken up in each 
stitch, instead of the two seen in the pattern, 
which is given in the usual canvas stitch. If 
silk is used, then the design had better be 
done in the usual stitch so as to make it 
appear thick enough. An odd fancy in mak- 



ing a square tidy is to work a large butterfly 
in one corner, and one or more smaller ones 
Hying downward or upward from it. The 
butterfly may also be used as a center-piece 
only, with a fringe of the same colors about 
the edge. Pearl, drab, or e'cru canvas is the 
prettiest for a butterfly tidy. The design will 
be found very neat upon collar, cufif, glove or 
jewel boxes. ' 

Tidies of Satin and Lace. 
Figures Nos. 14 and 15. — The most 
troublesome portions of the tidies represented 
are the satin blocks, which should be deco- 
rated as represented either by embroidery or 
painting, whichever is preferred. The rest of 
the work is easy enough, as it consists simply 
in joining blocks of antique lace to those of 
satin and bordering the edges with a frill of 
lace to match. These blocks and the edg- 
ing may be found in almost any fancy-goods 
store, and are very pretty when formed into a 
tidy, but are anything else when seen on the 
counters. The blocks and lace are loosely 
woven of what looks like unbleached linen 
thread, but, when combined in tidies or on 
curtains for windows with satin or batiste, 
they are very tasteful indeed. The tidies illus- 
trated may be used for a sofa or a large chair ; 
tiie large one being for the back and the other 
for the arm. Pale-blue, navy-blue, rose-color 
and cardinal are the shades of satin usually 
selected to combine with the lace. 

Marguerite Tidy and Sections Composing It. 
Figures Nos. 16, 17. iS and 19.— Among 
pretty specimens of home fancy-work the tidy 
known as " The Marguerite " is particularly 
noticeable. One would scarcely suppose that 
such common materials as serpentine braid 
and a few bits of silk would, when properly 
arranged, form so charming a tidy ; yet the 
result must be seen before its loveliness can 
be fully realized. Figure No. 16 shows the 



NeeDLe-d^fiFT. 



245 




Figure No. ii. — Butterfly Design for Tidy. 



I I- 1 ■\--\'\-]'t r I n 1.1 I 



i_u-[ - 



m 



n ■.'.!. I- 1 I I ! 1^1 . 1 ' ±_i_i . ^^n 



lUE 



m 



c B » S r S S 
P g ? 7 fa S H 



S 73 

~ G 

"- Vi 



Figure. Nil i3. — 1)i.\gr,'\m for CoLORii. 




Figure No. 13. — Design for Tidy. 



246 



NeeDLS-CRftFT. 



appearance of a portion of a tidy when fin- daisies are joined, which is one of the most 
ished, though on a very diminutive scale ; for important details. The foundation is made 
as many marguerites as are necessary to <if stiff mu>;1in. nnd rut just the size indi- 




FiGfRF. N'li. 14. — Tidy ok Satin and Lace. 




Fkure Xl>. I ■ 



- Tll'V Ml ^A 1 l.N AMI l.Al E. 



obtain the desired size must be joined when cated by Figure No. 17, which also shows how 
making the tidy. The engraving, however, the wrong side of the flower looks while 
serves to explain the manner in which the uiulergoing the process of its formation. It 



NeeDLG-CRAFT. 



247 



will be noticed at Figure No. 18, that, when 
the braid is sewed on, the inner points are 
drawn closely enough together to prevent 
curling over too far ; and it would probably 
be a good idea to gather the braid before 
applying it to the foundation. After the two 
rows are sewed on, a button-mould is covered 



yet tidies of this description may be made of 
any color the braid is found in. If care is 
taken to make them substantially, "iVIarguerite 
tidies " may be washed as easily as a piece of 
muslin. Figure No. 19 shows a single daisy 
when completed, and ready to join to others 
already made. In connecting the points care 



c#?^- 








Figure Xo. 17. 



i^rft? 



Xfi 



FiGUEE No. 16. — Section of Mar- 
cuERiTE Tidy. 











Figure No. 19. 



Figure Xo. iS. 
Figures Nos. 17, iS and 19. — Method of Making Marguerites. 



with yellow or brown silk to form the center 
of each, and is Joined to the muslin founda- 
tion, so that the inner points of the second 
row are concealed by it. If preferred, a 
worsted center may be made, or the yellow- 
worsted buttons used by upholsterers "may be 
substituted. Although white marguerites with 
the centers described are the truest to Nature, 



should be taken to do it very thoroughly, as 
such articles are liable to be pretty roughly 
treated, especially if they adorn chairs and 
sofas that are in daily use. 

Damask Tidy. 

Figures Nos. 20 and 21. — The tidy illus- 
trated by Figure No. 20 is probably one of the 
prettiest in vogue, while also novel in construe- 



248 



NeeDLG-CRflFT. 



tion. The block shown by Figure No. 2 1 is 
an enlarged representation of those seen in 
the tidy, and is calculated to show the method 
of making, and also the general effect. Stair 
damask is the material for the foundation, and 
as it has a light and a dark side, the former 
should be chosen for the surface, because it 
will throw up the colors of the worsteds used 
in the embroidery in a belter light. When the 
tidy is worked in the blocks illustrated, tlie 
embroidery of the lines is done in an over- 



the bars may be worked with one color and the 
leaves with alternate green, brown and orange 
or scarlet, to represent Autumn tints : or the 
bars may be of solid color and the leaves of 
shaded worsted in one color or in the tints 
just mentioned. Both large and small tidies 
may be made in this way. Covers for furni- 
ture or hassocks may also be elaborated by 
this process if a lady has leisure and patience, 
thus forming a pretty decoration at a moder- 
ate expense. Any canvas may be used in 




Figure iso. 20. — Ijamask Tidy. 

hand stitch as pictured in the engraving of 
the single block. In making the leaf it would 
be better to put a coarse filling through it 
before overlaying it with the smooth stitches. 
The latter should commence at the center of 
each portion so as to form the veining of the 
leaf. Sometimes these tidies are worked all 
in one color, and again several tints are 
introduced, or shaded worsteds are used. 
]*'or instance, the embroidery may be done in 
brown, blue, scarlet, purple or crimson ; or 



Figure No. 21. — Section ok Tidy. 



this manner, except such as generally forms 
the foundation of slippers and cushions, when 
the groundwork is formed of a filling of 
worsted. 

In making the pattern the lines should 
extend to within about two inches of each 
edge, and when the embroidery is finished 
this spare margin should be ravelled to form 
a fringe, a tiny overcasting holding the thread 
firmly at the top of the fringe. If prepared 
for delicate tidies the bars and leaves may be 



NeeDLS-CRAFr. 



249 



made of silk, with a very prett\- effect ; or if a 
still more delicate article be desired, the tidy 
may be made of white net, and the bars and 
leaves darned in with floss of various tints or 
all white. \\'hite Swiss, embroidered with 
white in similar designs, is pleasing when 
laid over dark or delicately colored upholster- 
ing. 

Chair Tidy. 

Figure No. 22. — This pretty tidy for chair 
or sofa is made of an oblong section of garnet 



little below the cloth and tipped with fancy 
chenille ornaments. The cloth may be of 
any preferred color, and so may the velvet 
ribbon ; and any desired style of ornament 
may be added to the ends of the bands. 

Fancy Tidy. 

Figure No. 23. — The center of this dainty 
tidy is an oblong section of velvet with the 
corners cut off neatly ; and it is handsomely 
decorated with an enibroiderv design of fine 



ffirf»..y.. 






Figure No. 22. — Chair Tidy. 










Figure No 



-Fancy Tidy. 



felt cloth. The edges are scolloped and 
pinked, and down each side of the center is a 
band of wide velvet ribbon ajsplied with fancy 
stitches of floss in a variety of colors, the 
stitches being so arranged as to outline all 
sorts of fancy shapes in fans. The ends of 
the bands are finished in points, which come 
between the scollops in the ends, the lower 
ends of the bands being e.xtended quite a 



flowers, the flowers being made of narrow rib- 
bon and the leaves, etc., worked with filoselle. 
It is bordered all round with wide fancy 
ribbon, and a decoration of wide lace is added 
to the outer margin of the ribbon. The 
center may be of wide ribbon, plush, velvet or 
satin, as preferred ; and the ribbon bordering 
it may be of any color that will contrast 
agreeably with it. 



?5o 



NeeDLe-CRAFT. 




NeeDLe-CRAFT. 



251 



Fancy Mat. 

Figure No. 24. — A use for the peacock 
here suggests itself. Two pieces of paste- 
board are cut the proper shape, and each is 
covered with purple velvet, the under one, 
however, not being decorated. The upper por- 
tion is embroidered in silks, the colors being 
greens, golds and browns. Then with much 
care the feathers are fastened between the 
mats as pictured, and the one perfect mat is 
achieved. Glue or stitches will be found the 
surest way of holding the feathers, which 



should be fastened to the under mat before 
the upper one is added, and care must be 
taken not to soil the velvet. A section of the 
embroidery design used in decorating the mat 
is given at Figure No. 25. 

Embroidery Design for Mat. 

Figure No. 25. — A quarter of the design 
embroidered on the peacock-trimmed mat is 
here given, so that the exact idea may be got- 
ten and the worker draw her own design if 
she wishes. 



% Daii^ty HQat. 



Those who carefully study efifect in house 
decorations know that lack of harmony in 
grouping is the cause of most of the failures 
attending the efforts of many who are obliged 
to confess that with all wished for means 
at hand, they cannot make their apartments 
appear tastefully furnished. A cabinet or 
a fancy table that is overloaded with the 
choicest specimens of Keramic art is not 
decorative, and it does not display its beau- 
tiful burden to good advantage. A china 
vase, a delicate statuette, or a pretty easel 
supporting a photograph or an etching, some- 
times has its beauty entirely obscured by 
being placed in too close proximity to larger 
and inharmonious objects. As a rule, all dark 
woods are unfriendly to objects of art which 
are dark or neutral in tone, or which have not 
sufificient surface to throw the dark back- 
ground into obscurity ; and this is the reason 
why "a dainty mat" is always appreciated. 
One which adds to the artistic effect of a low 
round vase with a short and narrow neck, is 
formed of a square of very yellow ]3lush, bor- 
dered with lace, that is quite oriental in effect. 



The plush is a scrap about eight inches 
square left from a cushion, and the border is 
simply a piece ot linen lace, neither very fine, 
nor very coarse. It has an open, regular de- 
sign in which silver, gold, copper and electric 
blue metallic cords are run, their insertion 
being guided by the design of the lace and 
as much being run in as the openings permit. 
The lace is laid flatly about the plush, with its 
edges extending a little beyond, and its sel- 
vage after being sewed to position is overlaid 
with a row of the metal cord. The corners 
are neatly and uniformly turned and securely 
tacked, and the effect is very attractive. 
When placed in position beneath the vase 
only enough of tlie yellow plush is visible to 
form a narrow rim outside the cloudy gray 
which is the color of the vase at its base. 
The lace shows the brilliant metallic tints to 
good advantage, and possesses an air of 
special richness that well repays the maker 
for having expended a few cents for the rem- 
nant and carefully saved the odds and ends 
of metallic cord remaining after making a 
piano cover. 



252 



NeeDLe-CRflFT. 



y.fr'^4.'^^^^ 




]{ Gon).n^oi^ HQistake. 

In selecting fringe for the ornamentation of 
any article having many curves or angles, it is 
a mistake to choose that which is composed 
of thick, heavy strands, although at first 
thought such varieties seem most desirable on 
account of their fluffiness. The strands sep- 
arate and fall apart if applied otherwise than 
in a straight line, and consequently a fringe 
with netted or latticed work for the greater 
part of its depth can be used to much better 
advantage. Such fringe may seem to be 
sparsely tasselled as it is held in the hand, 
but in its proper place it is mucli more effect- 
ive than the heavier varieties. Xery often a 
fringe having a deep, open heading above a 
row of tassels may be arranged to overhang 
(drape, the upholsterers call it) a fringe that 
is composed of heavy single strands. Such a 
combination gives the effect of sufficient body, 
with an airiness and grace which could not be 
developed with the heavier fringe alone. 



> » .^ '^'•a*'%* ^ ■«»,»»♦ 1-^ 



NeeDLe-cF^Apr. 



253 




CHAPTER XXXVI. 



PflNGY TSOiElS ARD SPLASHERS 




Decorated Towel. 

'IGURE No. I.— As a 

cover for towels that are 
to hang upon a rack after 
being used, or even as a scarf 
for tables, chairs, chiffonniers, 
etc., the towel here illustrat- 
ed is at once handsome and convenient. It 
may be of damask, Turkish towelling or any 
fabric that will fringe out nicely. The bird 
may be of any color or colors desired, its cor- 
rect size being illustrated at Figure No. 5. 
A cream-colored damask towel is very effect- 
ive decorated in this way. 

Fringe of Decorated Towel. 
Figure No. 2. — The effect of the fringe on 
the towel illustrated at Figure No. i is beau- 
tifully represented by this engraving. The 
strands are separated at wide and narrow 
intervals alternately, and are knotted as 
described at Figure No. 3. When the strands 
have been divided at the last wide interval, 
they are tied in ordinary knots, instead of 
with the thread, and the tassels produced be- 
low the last knotting are full and heavy. The 
fancy stitches in the upper wide depth of 
strands may be of worsted or silk floss, and 
are worked in the manner so clearly illustrat- 
ed at Figure No. 4. 



Drawn-Work for Decorated Towel. 

Figure No. 3. — This engraving very clearly 
illustrates the method of knotting the threads 
in the first row or heading of the fringe on 
the towel. The fringe threads are separated 
into strands, having equal numbers of threads, 
which are knotted by a single thread from a 
needle. These strands are also divided into 
halves, each half from each strand being knot- 
ted in a similar manner to the nearest half of 
the adjacent bunch of threads. 

Ornamental Design in South-Kensington Outline 
Stitch. 

Figure No. 4. — This design is done in the 
South-Kensington outline stitch, and is pretty 
for borders or headings to towel fringes, or 
for embroiderv, edging inserted strips in table- 
covers, scarfs, lambrequins, etc. 

Bird in South-Kensington Stitch. 

Figure No. 5. — This lovely bird may be of 
one or many colors, and is done in the well- 
known South-Kensington stitch with worsted, 
linen or silk flosses. The butterfly may be of 
brilliant hues, and the bough of olive green. 
The bird is of the proper size for towels, 
scarfs, lambrequins, etc. 

Designs for Feather-Stitching. 

Figures Nos. 6 and 7.— These two designs 
are very pretty for fastening the edges of 



254 



NeeDLe-CRAFT. 



ribbons or strips of contrasting fabric to posi- will show how handsome a plain Turkish 
tion, or for outlining borders, hemming flannels towel may be made with coarse linen thread 
and embellishing fancy-work generally. It is and bright floss, either linen or woollen. To 






;;s:i™i 















Figure No. i. — Decor.\ted Towel. 



Figure No. 2. — Fringe of DECOR.vrEU Towel. 




Figure Nu. 3. — Dkawn-Work for Decorated 
Towel. 




^&mm^mmi^m&m^^r/;m^ 



Figure No. 4. — Ornamental Design in 
South-Kexsington Outline-.Stitcii. 



done by the chain-stitch movement, and is form tiie fringe, unbleached coarse linen 

very simple. thread is drawn in as illustrated, the loops 

Embroidered Turkish Towel. serving to confine the threads to the towel. 

Figure No. 8. — A reference to this figure and knots securing them in fringe form at the 



NeeDLe-CRflFT. 



2SS 



end. Although of necessity the design for handsomely arranged. All of these tints may 
the darning in of the colored floss as well as be mingled in the fringe as well, if preferred 
the fringe, is quite small, it will serve as a to the unbleached thread. 




Figure No. 5. — Bird in South-Kensington Stitch. 





Figures Nos. 6 and 7.— Designs for Feather-Stitching. 



guide to the worker. The colors generally Lace Splasher. 

employed are scarlet, bright-blue, yellow and Figure No. 9. — This dainty adjunct is 

black, which are ornamental in effect when made of four contrasting squares of antique 



2s6 



NeeDLG-CI^ilFT. 



lace carefully sewed together so that they may 
lie perfectly flat, and is to be placed behind 
the receptacle for waste water. A finish is 
given by a border of antique lace arranged 
without any fulness, each corner being cut so 
that no gathers will be necessitated. When 
the square is completed it is placed over 
another, somewhat larger, of bright 'J'urkey- 
red, and the two are firmly tacked to position. 
If the Turkey-red is not in harmony with the 
room, material of any other shade may be 



blind-stitched to position ; the upper edge of 
tile band concealing the ends of applique'ed 
selections from Nature's garden. These selec- 
tions comprise cat-tails in their rich brown 
color, matured mullen blooms and leaves in 
their queer green and yellow hues, and sumach 
leaves in the glowing lints of Autumn color- 
ing. These may be embroidered in crewels 
or flosses to obtain the proper tinting, or 
only those with the varying colors need be 
embroidered. Damask and other handsome 





FiGLKE No. 9. — Lace Si'I..\sher. 



Figure No. S. — Embroiuered Turkish Toweu 



substituted ; but, being a healthy tone and 
one that does not fade soon, It is often pre- 
ferred. 

Fancy Towel-Cover. 
Figure No. id. — .\ tastefully decorated 
towel-cover is illustrated in this engraving. 
It consists of a linen towel of a diagonal pat- 
tern, with heavy tassel-fringe upon the ends. 
Above the fringe its ends are crossed by a 
broad band of Turkish towelling, that is neatly 



towels may be elaborated in this way. The 
Turkish towelling may be omitted in favor of 
contrasting silk, velvet, satin or embroidered 
felt-cloth, etc., when momie cloth or other fine 
material forms the foundation. When canvas, 
silk, velvet, felt-cloth, plush or Turkish 
towelling is used for the formation, they will 
be decorated with beautiful worsted fringes, 
appliquees or embroider)-, as preferred. A 
lining of Silesia, silk or satin will usually be 
added 10 very handsome articles of this kind. 



NeeDLe-CRAFf. 



257 



Kitchen Splasher. splasher, which will be useful in protecting 

Figure No. ii. — A section of enamelled, the wainscoting or wall at the kitchen sink. 




Figure No. iio.— Fancy Towel-Cover. 




Figure No. ii. — Kitchen Splasher. 
marbled oil-cloth was used for making this Its edges are pinked and it is fastened to 5 



258 



NeeuLe-ci^AFT. 



place at the lop by three large brass-headed 
nails. The utensils pictured upon it may be 
outlined with embroidery cotton or painted, as 
preferred. When the splasher !s soiled, a 
careful wiping with a soft cloth will freshen it. 
Linen-and-Lace Splasher. 
Figure No. 12. — This splasher has a cen- 
ter-piece of coarse linen, with cat-tails and 
their foliage worked upon it in crewels. 
Fitted around this as illustrated are twelve 



Embroidery Design for Splasher. 

FiGtJRE No. 13. — This design is worked on 
the center-piece of the splasher illustrated at 
Figure No. 12. It may be done in browns en- 
tirely, though a better effect is obtained if 
browns and greens are used. Unless one is 
used to working in crewels, it would perhaps 
be wise to present the design in outline-stitch. 

The practical value of fancy work lies in the 
ability of the worker to make her work atlract- 




FlGURE No. 12. — LINEN-ANU-LACE Sl'LASllKK. 



squares of antique lace, each in contrast with 
the other. The border is of antique lace, and 
the whole, when finished, is laid against the 
background of Turkey-red. Small brass tacks 
may be used for the fastening to the wall, or 
the heads of ordinary tacks may be covered 
with a bit of Turkey-red. If preferred, scrim 
may be substituted for linen, the effect being 
equally good and many finding it easier to 
work upon. This splasher is to be placed 
back of the washstand. 



ive without impairing its usefulness for the pur- 
pose it is designed to serve. Dotted Swiss mus- 
lin decorated with long, overwrought stitches in 
zephyr or crewel serves many practical and 
pretty purposes, some of which are here illus- 
trated. 

Splasher, to Fasten Back of a Washstand. 

Figure No. 14. — This splasher is made of 
zephyr-decorated, dotted Swiss, laid over pink, 
blue, red or lavender cambric, and bordered 
with lace. The bows match the tint of the 



NeeDLG-CRAFT. 



259 



cambric and cover the tacks holding the 
splasher to the wall. A border of plain, 
plaited Swiss, with or without a lace-finished 
edge, may be used in place of the lace frill 
here seen. 

Design, in Full Size, for Splasher Illustrated at 
Figure No. 14. 

Figure No. 15. — This engraving shows 



similarly to the other, but in a different design, 

and with plaited Swiss about the edges, 

and worsted cord and balls in place of bows. 

Lace, either gathered or plaited, may be used 

for the border. 

Design, in Full Size for Splasher, Illustrated at 
Figure No. 16. 

Figure No. 17. — This design is more intri- 
cate than the other, but is easily followed. 




Figure No. 13.— Embroidery Design for Splasher. 



the method of embellishing Swiss for the pur- 
pose mentioned. Single zephyr is used for 
the lines and to otherwise decorate the muslin. 
Blue, red, olive, pink, brown, lavender or any 
other tint preferred may be represented by 
the worsted. 

Splasher, to Fasten Back of a Washstand. 

Figure No. 16. — This splasher is made 



The dots upon the Swiss are closer and 
smaller than in the other, and the material is 
well covered by the design. 

Fancy Bath-iiTowel Holder. 

Figure No. 18. — This holder is made of a 

length of wide velvet ribbon that is passed 

through three rings and then doubled, two of 

the rings being placed in the folds, while the 



26o 



NeefiLG-CI^iiFT. 



third comes where the ends are joined and is tiny rings sewed all over it in a simple figure 
used to suspend the holder. Through each of design. Wooden rings of the kind illustrated 



"Plillll 




Figure No. 14. — Splasher, to Fasten Back 
OF A Washstand. 



Figure No. 15. — Design, in Full Size, eor Splasher 
Illustrated at Figure No. 14. 




rMltTT' 



■Trr,-( 








Figure No. 16.— Splasher, to Fasten Back 
of a Washstand. 



Figure No. 17. — Design, in Full Size, for Splasher 
Illustrated at Figure No. 16. 



the other rings a fancy bath-towel is drawn to are obtainable for a small sum and maybe util- 
fall gracefully. The ribbon is decorated with ized in a variety of practical and pretty ways 



NeeDLe-cF(AFT. 



261 



about the lavatorj-. Four of them, hung in a may be utilized to good advantage where 

row, will hold several towels, and where the ab- space is limited. Besides holding baih-towels, 

kitions of two or more persons are performed, a wash-bag, shoe-bag and similar articles may 

the rings holding the special towels of each be suspended from it ; and, if arranged to 

may be marked with initials done in fancy- hang at dififerent lengths, no one article will 

headed tacks or nails. If metal rings are infringe upon another. A practical hint, not 




^^fei:iilil;iiii.lliiilil 



FiGUKK Nu. iS. — Fancy Bath-Towel Holder. 



used, it is advisable to crochet over them with misplaced in this connection, is as follows : 

cord. A strip of linen, ornamented with out- use round cord for suspending any receptacle 

line stitching, or without any decoration, may that is to receive much weigiit. Cord of this 

take the place of ribbon. description will bear the strain imposed upon 

A ring larger than those illustrated, with it much longer than tape, braid qr any flatly 

several hooks or screw-eyes fastened in it, woven material. 



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TJI£ LATEST AND BEST IDEAS 




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On receipt of $1.00, or \s., " GOOD MANNERS" will be sent Pre-paid to 
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ni to 175, Regent St., London, W.; or 7, O and 11 West Thirteenth St., Wetv York. 



NeeDLG-ci^AFr. 



263 



.^.h 









CHAPTER XXXVIl, 



FflOGY P'lLLQO) ADD SHEET G0¥ERS-C0(I3nS AHD CQWH GASES. 



-1> 



r;;sa 



TJs^TJT 



-)K- 



XTREME daintiness in the dress- 
ing of one's coucli is always re- 
quisite to a person of refined 
instincts, and suggestions for 
pretty covers for pillows and 
for sheet-shams are always appre- 
ciated. This chapter contains 
several designs which are as prac- 
tical as they are pretty. 



Fancy Pillow-Cover. 

Figure No. i. — A pillow-cover matching 



ferred, pale blue, scarlet or any color liked 
could take the place of the rose ; but, some- 
how, it seems especially suitable, while the blue 
belongs to the cradle of a wee baby. 

Fancy Sheet-Sham. 

Figure No. 2.^ A sheet-sham of very 
sheer lawn, intended for ornament, has its use 
in a household where the head of it is inter- 
ested in art at home. This one is finished 
around the edge with a deep border of antique 
lace, and its beauties are brought out by an 




Figure No. i.— Fancy Piixow-Cover. 

the sheet sham on the following page is here intermingling of Kursheedt's Standard satin 
shown, the materials employed being .sheer quilting of rose color. Each point of the lace 
white lawn and rose-colored satin. If pre- is tied over the silk by a rose-colored ribbon, 



264 



NeeDLG-CRAFT. 



and the whole air is as dainty and fresh as square is a row of embroidered insertion, 

the Spring roses it should herald. and bordering this is a row of deep, fine 

Fancy Pillow-Sham. embroidered edging. The centers of the two 

Figure No 3.— This engraving illustrates a pillow-shams may differ, but the borders of 




:«•i.=^ 







Figure No. 2. — Fancy .Sheet-.Sh.'^m. 




FicUKE Nil. 3. — Fancy Pii.i.hw-Siiam. 

very handsome pillow-sham made of scraps of insertion and edging should match. The bed- 
all kinds of embroidered edgings and inser- spread may correspond, if there be enougli 
tions put together in the informal manner pecu- pieces to form it, in the worker's collection of 
liar to crazy patchwork. About the " crazy " scraps. 



NeeDLG-d^AFT. 



265 



Fancy Pillow-Sham. lace edging is added, being slightly fulled in 

Figure No. 4. — The center of this beauti- the corners. The edge decoraii&n may be of 

ful pillow-sham is made of scraps of all kinds any preferred kind of lace and ma)- or may 




Figure Xu. 4. — F.\.\cv Pillow-Sham. 




Figure No. 5. — 1'illow-Sh.\m. 

of lace edgings and insertions put together in not match the bordering row of insertion, 
crazy patchwork fashion ; around the square Italian lace is inexpensive and very dainty 
is a row of insertion, and then a row of pretty for edge decorations to shams and also to 



266 



NeeDLG-CRAFT. 



spreads, which may be similarly made up. joined to form squares, the sides of which 

The two shams and' the spread may show are bordered with insertion. Samples of 

entirely different scraps and different arrange- edging or insertion, or pieces left from 

ments of them, but the edge finish of all dresses or underwear, may be thus utilized, 

should be alike. Torchon. Medici and all and shams made in this way will launder 




Figure No. 6. — Night-Gown Case. 



kinds of linen and cotton laces inay be 
used. 

Pillow-Shara. 

Figure No. 5. — This handsome sham is 
made of samples of embroidered edging and 
insertion joined together, and has a border 
formed of a row of edging. The pieces of 
edging are almost all of equal size and are 



better than the " crazy " style illustrated in 
this chapter. 

Night-Gown Case. 
Figure No. 6. — This pretty receptacle for 
robes dc iiuif when not being worn is made of 
fine linen shaped as illustrated and having 
two receptacles for the gowns. Each is hem- 
stitched all around, and then the entire case 



NeeDLe-ci^AFr. 



267 



is finished with antique lace, sufficient fulness on the gown-case. It may be done in white 

being allowed at each corner so that it will or colored cottons, crewels or silks, the choice 

not draw. On the one pocket is embroidered depending entirely on the material used for 

in white the welcome wish " Pleasant the case. Silver and gold tinsel thread are 

Dreams," while on the other is a band of especially effective for embroidery or outline 




Figure No. 7. — Embroidered AfoxTa 

musiciarfs who, from the energy they infuse into work upon dark backgrounds. As a rule, 

their work, would hint that one must awaken however, the preferred material for the 

and be up for it is no longer time to court the making of gown-cases will be bright in color, 

drowsy god. Of pongee or scrim, this case though dark fabrics may be used if pre- 

would be pretty and would not be more diffi- ferred. 

cult to work upon tlian the linen. 

Outline Work in Full Size for Gown-Case, as 
Embroidered Motto. Illustrated at Figure No. 6. 

Figure No. 7. — An illustration is here Figures No.'^. S, 9, 10 andii. — This funny 
given, in its proper size, of the desirable wish little quartette of musicians is embroidered 



268 



NeeDLe-CRAFT. 



in outline-stitch, as illustrated on the gown- sufficient individuality to be shown separately. 
case. They may, however, be embroidered or The e.xpression on each face is capital, and 




Fic.iTRE No. 8.— Paut or Outline Work in Full Size for GowN-C.\sii. 

done 111 pen-and-ink, and they may be to- handy maidens can easily see how they may 
gether at their enjoyable task or may have be utilized upon scrvkttes, tea-cloths, towels or 



NeeDLs-ci^fiFr. 



269 



menus. The last, of course, would be done done by their home relatives, and the results 
with pen-and-ink. are often elaborate and beautiful. The work 




Figure No. 9. — Part of Outline Work in Full Size for Gown-Case. 



The decoration of the sleeping-gowns of is very simple, and with pretty designs to 
the male members of the family is generally follow is not in the least arduous. 



i 270 



NeeDLe-d^AFT. 



In tills chapter are also shown designs and most effective in the catalogue of stitches, 
that are pretty and graceful for specified and one that is not injured by laundering. 




-^\'^d (^ >Mi^^ 



Figure No. 10. — Part ok OurLixK Work i.\ Full Size for Gown-Case. 



portions of these garments of the bed- Colored wash cottons on cotton goods, 

chamber. The stitch is the South-Ken- worsteds on wool goods and wash silks and 
sington outline-slitch, one of the simplest fadeless etching silks on silk textures are 



NeeDLG-CI^AFT. 



271 



used for the embroidery, and any preferred show all the natural colors carefully blended, 
color or colors may be chosen. Sometimes Blues and reds are especially liked for 




Figure No ii. — Part of Outline Work in Full Size for Gown Case. 



the entire design is done in one color, and monochromatic effects, as they are less likely 
oftentimes several desirable shades are used, to fade by the frequent laundering than the 
with very good effect. Floral designs often more delicate colors. 



272 



NeeDLe-CRAFt; 



Gentlemen's Night-Shirt, and Designs for A patch pocket is applied on the left breast 

Embroidering It. and the design used in its decoration is 

Figures Nos. 12, 13, 14, 15 axd 16.— This portrayed at Figure No. 15. The cuffs are 

shirt is made of fine cambric. Its collar is ornamented with the design shown at Fi<^ure 




Figure No. 12. — Gentlemen's Night-.Shirt. 




Figure No. 13. — Design for Embroidering Collar. 



in rolling style and is decorated with em- No. 14, and are moderately deep. The 

broidery in the design shown at Figure No. 13. designs are all pictured in the correct sizes 

The applied lap down the closing is elabo- for the parts they are to decorate, and may 

rated by the design shown at Figure No. 16. be traced on thin paper, which may be basted 



NeeDLs-ci^fiFr. 



273 




Figure No. 14. — Design for Embroidering Cuff. 



274 



HeeDLG-CI^AFT. 




Figure No. 15.— Design kok 
Emhkomjkring Pocket. 



Figure No. 16.— Design for 

F.MIiROIllEKING L.\I'. 



NeeDLG-CI^AFT. 



275 



on the parts to be decorated and the design along the edges of the collar. A very nice 
worked through the paper. The pocket, pattern for night-shirts is No. 2479, P^ice I9. 




FicuRE No. 17.— Sachet .Shirt-Case, Closed. 




FicuRE No. iS.— Sachet Shirt-Case, Ope\. 



lap and cuffs are stitched to position at their or 25 cents. It is in eight sizes for gentlemen, 
edges, and a row of stitching is also seen from twenty-eight to forty-six inches, breast 



276 



NeeDLe-CJ^AFT, 



measure, and is illustrated in our Catalogues 
for the season. The upper pan of the back 
is a smootii-fitting yoke. If desired the 
shapes here shown for the cuffs and pocket 
may be substituted for those provided in 
the pattern. 

Sachet Shirt-Case. 

Figures No. 17 and 18. — These engravings 
illustrate a handsome receptacle for a gentle- 
man's day and night shirts. The case is 
made of satin and lined with quilted satin 
evenly wadded, the cotton being thoroughly 
sprinkled with some favorite sac/iii powder. 
The pockets are sections of satin of suitable 
width, similarly lined, and are decorated with 
a simple design done with embroidery silks. 

Figure No. 17 shows the case closed and 



decorated with a spray of strawlwrry vine i-u 
appli(]ne, which shows the progress of the 
fruit from the frail blossom to the luscious ripe 
berry. The spray is a selection from 
Kursheedt's Standard floral applique's, and is 
very graceful and rich in coloring. Figure 
No. 18 shows the case open and tlie mode 
of arranging the shirts. The edges of the 
case are bound with velvet ribbon. Plush, 
velvet, silk. Surah, pongee or any preferred 
material may be used for such cases, and the 
colors may be selected according to taste. 
The lining will often contrast with the out- 
side, but the pockets will usually be of the 
same color as the lining. Any decoration 
preferred may be added to tiie outside, the 
monogram or initials of the owner being 
very effective. 



: O'oo o o <><> o o \^ 

^£2>. X X X X X X X X X XXZ^i 



NeeDLs-ci^iiFr. 



277 




^S^^^'^^^^^^SjEt^^^i'^s^i^^^^ 



CHAPTER XXXVIII. 




FAHGY BAGS. 



HE ingenious woman 
who seeks to deco- 
rate her home and 
make some of the 
dainty Httle attributes 
in vogue for her own 
irsonal use, soon finds of how 
much vakie is each scrap of bright 
ribbon, each twist of gay-colored 
silk and each of the so-called odds 
and ends. The time always comes when 
they may be used, and never were they more 
desirable than in these days of striving after 
Oriental effects and strange minglings of 
coloring. Not only does one wish to have 
the work beautiful, but also to have it in 
a proper casing ; and as everything antique 
in shape or odd in design is specially desir- 
able, it is easy to understand why fancy bags 
for holding work, opera-glasses, cards, etc., 
are pronounced " too lovely."' A little care 
in combining the colors, and much care in 
making the stitches even, are the principal 
requisites needed toward making such arti- 
cles a success. 

Work-Bag. 

Figure No. i. — The bag illustrated is 
made of sirips of different colored ribbon, 
joined together by an over-and-over seam and 



then ornamented on the right side with 
feather-stitching in gold floss. All the seams 
are completely joined, save one, which is left 
open in the middle for a suitable distance, to 
allow the work to pass in and out. The ends 
are drawn together, and a full silk tassel of 
yellow silk finishes each. The sliding rings 
are of ivory and may be obtained at any sad- 
dler's. While a very rich effect is obtained 
if parti-colored ribbons are used, still, if de- 
sired, only two shades need be employed, 
good contrasts being obtained with pink and 
grenat, blue and lemon, bronze and deep 
scarlet, or lavender and orange. Satin, gros- 
grain or any quality of ribbon may be used, 
while, for greater elegance, gold or silver 
slides may be gotten, instead of the ivory 
ones. If a mourning bag is wanted, black 
and purple satin libbon may be used, with 
black silk and jet tassels finishing the ends 
and the rings formed of ebonv. 



Detail of Stitches Used in Figure No. i. 

Figures Nos. 2 and 3. — Illustrations are 
here given of the method of joining the rib- 
bon for the bag together in the usual over- 
and-over seam, and also of the feather-stitch 
that serves to ornament the strips. As a 
specially decorative result is attained by the 



278 



NeeDLG-CRfiFT. 



use of bright yellow floss, it is oftenest chosen 
for this purpose. If desired, a single row of 
the feather-stitching only may be employed, 
in which case it should be immediately 
between the two strips. 

Knitting-Bag. 

Figure No. 4. — As a receptacle for the 

ball of knitting wool or silk this bag is most 

useful ; it is also an artistic ornament to hang 

over a chair or on the corner of the work- 



preity lining. 'I'he revers or lap is elaborated 
by embroidered floral sprays and a row of 
imitation old coins about the edges. The 
lower end of the bag is plaited in along the 
fold and finished with loops and ends of cord 
tipped with large plush pompons. The coins 
may be replaced by any preferred style of 
drop ornaments, or the edge may be left plain. 
Such bags may be as beautiful as the most 
fastidious taste requires and may be made of 




^""^^ 




Figure i\i>. 2. — 1 1\ 1 r-\nii-( >ver .'iriTLii 

fSED IN THE WoRK-PaG 

Shown at X-'. 1 




Fu;uRE No. r. — Work-Bac. 



Figure No. 3. — Feather-Stitch used in 
THE Work-Bag Shown at No. i. 



table when otherwise not in use. It is 
formed of a straight piece of silk lined with a 
contrasting color, folded double, crosswise, and 
joined at the sides. Two deep slashes are 
made from the top down for several inches in 
the front of the bag, the slashes starting from 
the same point in the edge and diverging in V 
shape. The point or V thus formed is turned 
over on the outside, and the rest of the way 
round the bag is shirred in on ribbon in a line 
with the top of the revers. The corners 
above the latter are plaited and caught down 
back of the revers, effectively displaying the 



silk, velvet, plush, etc ; embroidery, hand- 
painting, appliquees and all sorts of ornamen- 
tal work may embellish them, and individual 
taste may decide as to the colors. 

Nile or bright green, with pale pink for lin- 
ing ; crimson with while, pearl, lemon or pale 
blue ; two shades of green ; gold with violet 
or lavender; gray with crimson, heliotrope or 
pale blue ; brome with olive, cream, gold or 
apple green; two shades of any one color; 
black with heliotrope, orange, scarlet, laven- 
der or bright green are all fashionable combi- 
nations. 



NGeDLG-CRAFT. 



279 



Opera-Glass Bag. lining of deep crimson satin. A casing is 

Figure No. 5. — This pretty bag for liold- made, and strings of crimson satin riljbon are 

ing opera-glasses is made of olive plush. run in, so that they draw easily. On the 

The bottom is shaped like the large part of front is embroidered in pale olive crewels a 




Figure No. 4. — KNij-riNc-BAO. 



the glass, and is stiffened with pasteboard, decidedly Japanese study of storks. Velvet 

The bag part is formed of two pieces properly or plush ma\- be employed for the outer part 

shaped and carefully seamed at each side ; of a bag of this description, while silk or satin 

and a perfectly smooth effect is given by the may be used for the lining. The decoration 



28o 



NSeDLe-CRAFT. 



is a matter of individual taste, it being prol> stripes upon large pieces of work, they will be 
able that when tlie bag is to have much foimd desirable, and niaj-, of course, be in any 
usage, it will not be considered necessary. coloring the worker prefers. 



Designs for Embroidery on Opera-Glass Bag. 
Figures Nos. 6 and 7. — These- designs, 



Opera-Glass Bag and Designs for Embroidering 
It. 

Figures Nos. 8, 9 and 10. — This hand- 




FiGciRK N(i. 5.— ()1'ERa-Gl.\ss Bag. 



^'Vi^^ 





.^^^iU^.^^- 



FicuRF.s Xos. 6 AND 7. — Designs 1 or Emhroidkrv on Opeka-CJlas.s ilAc;. 



done in South-Kensinglon stitch with pale some bag is of olive plush and made in regu- 

olive crewels, are effective, and being distinct, lar bag shape, two sections being joined 

though small, especially adapt themselves not togetlu-r at the side and lower edges and lined 

only to this bag but to all articles where a with deep orange plush. The outside and 

small but unique decoration is desired. On lining are sewed together a little below the 

serviettes or on ribbon bands to be used for tojj to form a casing for the draw ribbons, 



NeeDLe-ci^ftFr. 



281 



which are pulled through openings finished at dery designs being given at Figures Nos 
the side seams and tied in bows. The deco- and 10. An_v preferred colors and material- 




Figure No. S.— OrERA-Gi-ASb B.\: 




Figures No.s 9 and 10.— Designs for Emiiroidering Opera-Glass Bag. 

ration is worked in South-Kensington stitch may be chosen for the bag, and, if preferred, 
in brilliant colors, the correct sizes of embroi- the designs may be painted to resemble Ken- 



282 



NeeDLe-CRApr. 



sington embroidery, with good elTect. The the contrasting material. This portion forms 

ribbons usually match the outside in color, the front of the bag, and is embroidered or 

and may have a fancy or a plain edge. hand-painted in sonic pretty design, the initial 

Ladies' Hand-Bag. letters or monogram of the owner being em- 

Fi(;uRE No. II. — This jjretty bag is broidered just above the design, at one side, 

shaped from pasteboard. Two sections of The parts are joined together by a puff of the 




(T^ 



'^C^ 



Figure No. ii. — Ladies' Haxd-B.ag. 



FiGintr, No. 12. — Si'kav ok Daisies 
I'OR Embroidery. 



the shape of the larger portions are cut and 
are covered on the outside with velvet, plush 
or whatever material may be chosen, and on 
the inside with silk, satin or some contrasting 
fabric. Upon the lower part of one portion is 
arranged a piece of pasteboard curved at the 
top, as pictured, and covered smoothly with 



contrasting material, and the seaming of the 
puff and also the top of the bag are decorated 
with a row of silk cord arranged in clusters of 
loops in the upper corners. The suspending 
ties or handle are of wide ribbon bowed artis- 
tically, but may be of cord, if it be preferred. 
The e.xact size of each of the daisy sprays is 



NeeDLe-CRAPT. 



283 



pictured at Figure No. 12. Two of the sprays size for decorating the hand-bag shown at 

arranged with their lower ends crossing form Figure No. 11. It may also be used to oina- 

the design used in this in:itance, but the dis- nient any article of fancy work, with o-ood 

posal may be made in any way preferred. effect. 




Figure No. 13, — F.\ncv Bag. 




FldURE No. 14. — Suol'lMNG-liAG. 



Spray of Daisies for Embroidery. Fancy Bag. 

Figure No. 12. — This graceful spray of Figure No. 13. — To hang over a chair, 

golden-hearted daisies may be worked in sofa, etc., this is a handsome and dainty bag. 

cither the Kensington or satin stitch, the cen- The materials are pale gold China-silk and 

ters of the daisies being usually done in knot crnnson velvet, the velvet being set in in 

stitch. The design is shown in the proper diamond shape at the bottom, thus forming a 



284 



NeeDLG-CRAFT. 



triangle on each side. A row of fancy rib- and drawn in wit 1 crimson ribbons inserted 
bon is applied with fanc}' stitches in vari-col- in the hem. Of course, other colors and 
ored flosses along the sides of the velvet other materials may be chosen to please the 




Figure No. i ;. — Wi.ikk-H.\g. 




FlCURF. No. 16. 




rc-sr':5K:-; 






FiouKE Nu. 17. Figure Xo. :S. 

Figures Nos. 16, 17 and iS. — Fancy Stitches for Work-Bag. 



piece, the ribbons being crossed at the center taste ; and the decoration may be as elab- 

of tiie bag and finished in pretty points, and orate as desired, but the efTeCt of the present 

the applique stitches being continued about combination is dainty and elegant, and will 

the points. The top of the bag is hemmed often be duplicated. 



NeeBLs-d^AFT. 



285 



Shopping-Bag. mounted over a properly shaped section of 

Figure No. 14. — This stylish shopping- pasteboard. Black velvet, sewed on flatly, 




FiC.UKE No. 19. — \VORK-B.^G. 




pai W'' I'F II ■ ' %^ 




Figure No. 20. — 1!.\g iuk rLAViNG-C.\KD3. 

bag is made of pieces of jalush and silk of conceals the seams of the pieces, and is em- 
contrasting colors, joined together and broidered in a narrow vine pattern with 



286 



NeeDLe-cHApr. 



brighl-coloreil silks. The monogram is deftly 
worked on one of the silk pieces, and appro- 
priate embroidered designs are on the other 
sections. The upper portion of the bag is 
formed of silk of the same color as the darker 
plush. Drawing-strings close it at the top, 
and cords of twisted silk, attached near the 
corners, afford a handle. Scarlet and olive, 
dark-blue and gold, brown and oranj^e, acajou 
and cardinal would be particularly pretty coni- 
minglings for such a bag. 

Work-Bag. 

Fi(;uRE No. 15. — The foundation of this 
beautiful bag is a fancy basket, which may be 
oval or round and of any preferred size. 
Ribbons of ditTerent widths in two colors are 
joined by line over-and-over stitches, and 
arranged so that a wide row comes on top 
and the narrowest widih at the bottom. 
The narrowest ribbon is velvet ; it is sewed 
plainly to the basket inside the edge. Along 
the joinings of the ribbons are made fancy 
stitches, which are clearly pictured at Figures 
No;. 16, 17 and 18. A narrow ribbon is sewed 
underneath to the top row at the center to 
form a casing, in which draw-ribbons are in- 
serted, the ribbon standing in a pretty frill 
above the casing. A Roman effect mav he 
produced with the ribbons, as each row may 
be of a different color, or only two colors 
or two different kinds of ribbon may be 
used. 

Fancy Stitches for Work-Bag. 

"Figures Ncks. 16, 17, and 18. — These 
stitches are used to decorate the work-bag 
pictured at F'igure No. 15, and mav be done in 
different colors, several shades combining 
well in each. Of course the stitches will 
also be found useful for other articles of 
decoration and utilitv. 



Work-Bag. 
Fic.URE No. 19. — This pretty bag is made 
of strips of wide satin ribbon in two strongly 
contrasting shades. The strips are sewed to- 
gether with over-and-over stitches, and deco- 
rated at each side of the seams with feather, 
herringbone or cat stitching done with flosses 
of pretty colors. One end is furnished with 
drawing cords, which are tipped with large 
worsted balls, so that the bag may be opened 
and closed conveniently. The other end is 
permanently closed ; and each corner is deco- 
rated with prettily knotted cord, also tipped 
with balls. The cords may be replaced by 
ribbons, if desired. The rings may be of 
bone, horn or metal, and may be p\a.\u or 
fancy, to meet the taste. Purple and gold, 
garnet and blue or pink, dark-green and pale- 
blue or pink, scarlet and blacl;, dark blue and 
canary, are all pretty combinations for such 
bags. 

Bag for Playing-Cards. 

Fici'RE No. 20. — The engraving illustrates 
a pretty receptacle for playing-cards. It is 
formed of two strips of wide ribbon — plain 
and watered — joined together at their long 
edges and sewed to form a bag. The top is 
turned under for a hem in which are run 
ribbons to draw it together. The cards are 
cut from white flannel, carefully gummed on 
and decorated with spades or diamonds of 
black or scarlet flannel, also gummed on. 
The other lines are done in outline stitch or 
with a pen or brush. The ribbons may be 
scarlet and black or scarlet and white or of 
any other shades preferred. 

Fancy Bag, and Stitches Used in Its Decoration. 

Figures Nos. 21, 22 and 23. — Ribbon is 
so pretty for making fancy bags and its use 
simplifies the work of making so greatly that 



NeeDLG-CI^ilFT. 



287 



it is not strange it is usually selected. Ribbon 
in three widths was chosen for this dainty 
bag. The widest was used for the bag proper,' 
and the side edges are seamed together 
in the usual fashion, the top being turned in 
and finished to form a casing in which are run 
narrow ribbons that draw in opposite direc- 



this ribbon and the bolting-cloth are held in 
place by fancy stitches, which are accurately 
illustrated at Figures Nos. 22 and 23. 
Figure No. 22 shows the arrangement of the 
stitches upon the narrow ribbon at the top of 
the boiling cloth, and Figure No 23 illustrates 
an equally pretty variety of stitches which fol- 





^T>, c,^. 



b^<^>^c:5^<Cb^cS^ 



Figure No. 21. — Fancy Bag. 




YnrnT 



Figure No. 22. — Fancy Stitch. 




FltiURE No. 



-Fancy .Stitch. 



tions to close the opening and form pretty 
loops for suspending it. The lower lialf of 
the bag below the drawing-strings is overlaid 
with silk bolting-cloth upon which an e.x- 
quisite floral design is painted, and about the 
top of the bolting-cloth is arranged a narrow 
ribbon, which covers its upper edges. Both 



low the lower and side edges. The narrow-er 
ribbons may be alike in tint and different 
from the wider, or they may be of two shades 
and the wider of a third shade in any color 
that presents agreeable gradations in its hue. 
The bolting-cloth may be omitted and the 
floral design painted or embroidered. Such a 



288 



NeeBLG-ci^iiFr. 



bag will not only prove ornamental in a beau- cluster or a piece of soft cheese-cloth, such as 




Figure No. 27 



Figure So. 28. 



Figures Nos. 24, 25, 26, 27, 28, 29 
AND 30. — Fancy Bag. and Method 
of Making Ring Decoration. 





Figure No. 29. 



Figure No. 30. 



tifully furnished room, but it will also form a is reserved for use upon bric-a-brac and pol- 
convenient receptacle for a tiny fluffy feather- ished surfaces. 



NeeDLe-cRftpr. 



289 



Satin, plush, velvet, etc., may be used for 
the bag, but where too many raw edges have 
to be finished, the result is less apt to be 
entirely satisfactory. 

Fancy Bag, and Method of Making the Ring 
Decoration Shown Upon It. 

Figures Nos. 24, 25, 26, 27, 28, 29 and 
30. — The bag illustrated at Figure No. 24 is 
made of satin, and its construction is so 
simple that only the briefest explanation is 
necessary. The top is turned in and ar- 
ranged to form a frill heading above a casing 
in which are run ribbons that pull in opposite 
directions, to draw it up to the proper size and 
form loops to hang it by. For about two 
thirds of the depth from the lower edge the 
bag is covered with a network of rings, 
covered in this instance with embroidery silk 
shading from deepest to palest green, the 
shading being done so as to bring the palest 
tint at the center, and to the lower rings are 
attached tiny tassels which form a pretty 
fringe for the lower edge. The method of 
making this network is as follows. 

Fasten the silk about the ring, as repre- 
sented by Figure No. 25. With a crochet 
hook catch the worsted, as shown by Figure 
No. 26 ; draw the worsted under the ring, 
and throw the silk over the needle as shown 
by Figure No. 27 ; and crochet the loop off 
the needle as shown by Figure No. 28. 
Make single crochet stitches in the same 
manner all round the ring, until the latter is 
well covered. An illustration of the ring 
partly covered may be seen at Figure No. 29. 
The ring entirely covered is shown at Figure 
No. 30. When the required number of rings 
are covered, they are sewed together to form 



the network decorating the bag. Care 
should be taken to make the crochetted 
stitches even and close togther. A verv ele- 
gant effect may be obtained by connnencing 
with the lightest shade of the selected color 
and grading the rows to the very darkest. 
For instance, taking the gold shades, begin 
with white and shade down to the deepest 
orange ; for the red shades, begin with the 
lightest pink and grade down to the deepest 
crimson ; in blue, purple, green and gray the 
same method of shading may be pursued. 
Shading from light to dark is more effective 
than from dark to light, but either method 
may be followed. If the material for cover- 
ing has to be purchased, it will probably be 
well to know that in shading from light to 
dark that the second shade will need to be 
double the amount of the first, the third three 
times that of the first, the fourth four times 
that of the first amount, and so on. Brass 
rings of any preferred size may be used, but 
they should all be alike. Small rings may be 
covered with embroidery silks or flosses, but 
for large rings this would be a very expensive 
covering, so crewels, zephyrs, worsteds. 
Saxony yarns, chenilles or any of the thick 
embroidery goods may be used. For brack- 
ets or sinall lambrequins, the small rings are 
prettiest. Rings may be made of ordinary 
thick wire, if the rings cannot be readily pur- 
chased ; but care should be taken to have 
them perfect in shape, otherwise they will not 
look well. The tassels may be made at 
home, but, as they are not expensive, they are 
generally purchased. Fringes formed of rings 
covered in this way are very effective, and in 
another chapter one forming a lambrequin is 
illustrated. 



290 



NSeDLG-CP^AFT. 



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?IIin(low Cnrtairjs. 

A ROOM in which the walls and ceiling are 
very light or somewhat crude in tint, is soft- 
ened and improved by dark window curtains, 
but lace, Madras, scrim or muslin curtains 
are usually preferred for apartments which 
do not require toning down, the choice of 
materials being regulated by the style and the 
uses of the room and the taste of the fur- 
nisher. With any of these curtains, shades of 
some agreeable tint may be used, those of 
cream color being universally liked because 
they harmonize with any other hue and admit 
plenty of light. Cream-white lace curtains 
are usually most satisfactory in all except 
very expensive grades. To the latter class 
the pure white tint often adds a charm not 
attainable when the slightest variation from 
it is visible. India silk, both plain and fig- 
ured, is used for curtaining vestibules and 
halls which have glass lights. All shades 
of gold and ecru and some shades of red are 
among those usually preferred. Blue, ex- 
cept as a figure upon gold or ecru has not 
nianv admirers. 



^-ZEi 



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NeeDLe-CRflFT. 



291 





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lit- 


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CHAPTER XXXIX. 



Fancy and Usefol flrlides Soilable for Gifis to Centlemen. 




'Hli question what are suitable illustrate a handy receptacle for correspond- 

gifts for a lady to present to a ' ence, postage stamps, cards, etc., made of 

gentleman, receives several pleasing plush and satin. Figure No. 2 shows the 

answers in this chapter. All the book closed, and Figure No. i shows it open, 

articles illustrated are useful and or- with the correct arrangement of pockets, 

namental, and are easily made by deft The outside is formed of a piece of plush 

fingers moving to the music of happy thoughts, measuring seven inches and a-quarter across 



|"|"\l""« 



I'll' I 
1 " ■ 



Mi\ * ' 




Figure No. 1. — Gentlemen's Pocket Letter-Buok — open. 



Gentlemen's Pocket Letter-Book. the top and bottom and six inches at the ends. 

Figures Nos. i and 2. — These engravings It is lined with satin, and to one end is joined 



292 



NeeDLe-ci^fiFr. 



a piece of satin, of the depth of the end 
and about lliree inches wide, for a pocket. 
Between the ends of this pocket and the out- 
side are inserted gore-like pieces, that are 
folded in plaits to give a desirable width to 
the pocket. To the opposite side is joined a 
section of the same depth and about two 
inches wide, that is cut out in fancy outline at 



position. The outside of the book is embel- 
lished with embroidered storks done in Souih- 
Kensington stitch. The exact size of liie 
design is pictured at Figure No. 3. Any 
other ornamentation may take the place of 
that represented, and the material may be of 
any color or colors and of any variety pre- 
ferred. 




Figure No. 2. — Gentlemen's PociCEr 
Letter-Book — C losed. 



Figure No. 3.— Design in South-Kensington Stitch, 
Fop Gentlemen's Pocket Letter-Book. 



the top. A section, three inches wide and 
five inches and a-half deep, is inserted be- 
tween the outside portion and this section, to 
which latter it is stitched to form two com- 
partments, one for postage stamps and the 
other for visiting cards, the inner pocket 
being utilized for miscellaneous cards, etc. 
The pockets are all finished with a row of nar- 
row ribbon seamed to the edge and then 
turned over and machine-stitched flatly to 



Design in South-Kensington Stitch, for Gentle- 
men's Pocket Letter-Book. 
Figure No. 3. — This design is of the exact 
size suitable for embellishing the letter-book 
pictured at Figures Nos. i and 2. The colors 
may be in accordance with the plumage of the 
bird, or of any variety preferred. 

Cigar-Case. 

Figures Nos. 4 and 5. — The outside of 
this case is of figured Ottoman and the inside 



NSeDLG-CRilFr. 



293 



of plain Ottoman, and the edges are all bound decorated with fancy stitches in vari-colored 

with kid, machine-stitched on.' embroidery silks and stitched to the case at 

Figure No. 4 shows the case closed, and intervals to form pockets, each large enough 

on it are fastened three silver initials. to hold a cigar without slipping. 'J'he outside 




Figure No. 4. — Cigar-Case, Closed. 




Figure Mo. 5. — Cigar-C.xse, Open. 



Figure No. 5 shows the case open and the of such cases may be of kid, leather, silk, 
arrangement of the pockets for the cigars, velvet, plush, reps, etc., and the inside will 
The pockets are formed of a strip of silk usually be of silk. The binding may be rib- 
bound at the upper and lower edges with kid, bon, silk braid, etc., as preferred. Sometimes 



294 



NeeDLe-CRflFT. 



the pockets will be formed of a strip of strong for holding the variety of cards just at present 
ribbon. Of course, a monogram may be used in fashion. With a cliange in the size, the 
instead of the initials, if preferred. case may be duplicated to correspond. It is 




Figure No. 6. — Centlemen's Card-C.»se, Closed. 

p " "■^r?"-=«fci:'.rsjr.iS'.*».i' 





Fk-.uke No. 7. — Ge.ntle.men's C.-^rd-Case, Open. 



Gentlemen's Card-Case. made of kid, and is lined with satin after 

Figures Nos. 6 and 7. — These two en- the designs have been embroidered upon it 

gravings illustrate a card-case of a proper size in South-Kensington stitch. The smaller 



NeeDLG-CRAFT. 



295 



engraving shows the case closed and with the Gentlemen's Shaving-Book, Embroidery and Ini- 

design side uppermost. The otiier side may '•'^'• 

be jjlain or may have the initials or a mono- Figures Nos. 8, 9 and 10. — These en- 
gram upon It. The larger engraving shows gravings illustrate a shaving-book formed 




* * * jB^ • • • • ^^^ v^ " ' 



t o • o o • • 



Figure No. S.— Gentlemen's Shaving-Book. 



Figure No. 10. — Style of Initial. 



the interior of the case. Two sections are 
lined, embroidered and added as illustrated to 
form pockets, the hollowing spaces being left 
so as to withdraw the cards with ease. Brown, 
black and drab kid, with linings of blue, red 
or lavender, are usually selected. The de- 
signs may be done in any preferred color. 



of perforated cardboard, tissue paper of 
various colors, silk floss and gros-grain 
ribbon. Six or eight inches square is 
about the proper size for a book of this kind, 
and Figure No. 9 illustrates the full size of 
the embroidery and also shows the number 
and manner of making the stitches, as well as . 



296 



NeeDLG-CI^AFT. 



the nietliod of turning the corner of the em- 
broidery, and also the proporiionate widtii of 
the binding. The latter, however, should not 
be applied till the initial represented by Fig- 
ure No. 10, or any other letter desired, has 
been added, and the under side of the cover 
has been lined to conceal the wrong side of 



bow, and at one corner a long ribbon .s 
fastened under a bow, and, after its ends are 
tied in another bow, the loop thus formed is 
used to suspend the book at one side of the 
mirror. Other ribbons are fastened to the 
front edges of the book, and may be left 
loosely hanging, as illustrated, or tied in a 




Figure No. 11 — Shavint.-I'ai'ek Case. 



Figure No. 12. — Design on .Shaving-Paper Ca.se. 



the embroidery. After tw-o covers have been 
made and bound, a number of sheets of tissue 
paper of mi.\ed shades and colors are cut a 
trifle smaller than the covers and inserted be- 
tween them ; the covers are then secured to 
the paper and each other, bv ribbon passed 
through slits cut at each back corner of the 
paper, and tacked to the binding at the inside 
of the cover. Each ribbon is tied into a nattv 



bow to close the book. Any bright color may 
be selected for this book, and if preferred the 
embroidery may be of shaded floss, the bind- 
ing and ril)bons matching the darkest or the 
medium tint as desired. Worsted may be 
used instead of silk floss, and is chosen by 
inanv in preference, as it always makes the 
embroidery appear more massive. Plain 
while perforated-board is illustrated, but sil- 



NeeDLG-CRAFr. 



297 



ver, gilt or tinted card-board makes very 
handsome books, when the colors are care- 
fully selected. A quiet but charming contrast 
would result from the use of aife-au-lait card- 
board embroidered, lined and bound with the 
darkest shade of the same tint, or of drab 
card-board with the deepest gray trimmings. 
Blue or cardinal-red would make very showy 
trimmings. 

Shaving-Paper Case. 

Figure Nri. n. — Outside the paper that is 



pended. Colored papers may be used if de- 
sired, but white ones are always in good 
taste. 

Design on Shaving-Paper Case. 

Figure No. 12. — The design on the shav- 
ing-paper case is here given, and as it is only 
outlined, etching or painting may be the 
method used. 

Tobacco-Pouch. 

Figure No. 13.— This article will be a 
most acceptable and graceful Christmas gift to 





Figure No. \x. — Tobacco-Pouch. 



Figure No. 14, — .SpRmo L.\1'-Roiie. 



to be used is a sheet of parchment-like paper 
upon which is written in indelible ink and 
large letters that which the owner is supposed 
to desire, " a clean shave." Above this is a 
smaller cover of ^cru silk folded over and 
laced down each side with an olive green 
cord, which is tied at the termination in loops 
and ends, the latter being tipped with pom- 
pons. Similar pompons are across the edge 
in front, and upon this portion are cleverly 
outlined the shaving utensils. A ribbon is 
drawn through the shaving paper and the eye- 
lets of the case holding the paper, making a 
loop by which the pretty holder may be sus- 



falher or brother or to a man friend who is a 
lover of the weed. Four sections of chamois 
are comprised in the main portion of the 
pouch, two sections forming the sides and the 
other two the front and back. A cording of 
silk provides a decorative finish for the seams, 
and a bunch of narrow ribbon loops is caught 
to the bottom of the pouch at the center. 
The pouch is deepened by a straight section 
of silk sewed to its top, and is also lined with 
silk. A little above the seaming of the silk 
section to the pouch the lining and outside 
are sewed together to form a casing, in which 
are run ribbons that are pulled through open- 



298 



NeeDLG-cp^flFT. 



ings made in the outside portion at tiie sides, 
to draw the poucli up closely. The pouch 
may be hung by the draw ribbons to the 
smoker's table, which it will ornament hand- 
somely, and the initials of the recipient may 
be embroidered solidly or outlined on the 
pouch, or metal letters may be fastened on, as 
preferred. Three pipes, crossed and worked 
in outline stitch, decorate the front. 
Spring Lap-Robe. 
Figure No. 14. — This pretty lap-robe is of 
light-brown felt, lined with dark cardinal flan- 



nel. The two materials are of the same size 
and the edges are turned in and then stitched 
together. A short distance from the edge a 
band of deep cardinal fell is applied with yel- 
low crewel, and on the border is embroidered 
with crewels in outline stitch a floral pattern. 
If desired, the initial of the owner or his favo- 
rite horse's name may be embroidered in the 
center of the robe. If one lacks time, the 
band may be applied to the robe unorna- 
mented. Many are seen done in this way, 
and the effect is still pleasing. 



Sliells of tl^e Oceai?. 



It was a happy thought that directed their 
use, for they were extremely delicate, some 
of them being transparent and of a pale 
golden tint, suffused with a roseate hue, while 
others showed a pearly lining, and were beau- 
tifully crenellated about their edges. None of 
them were larger than a silver quarter of a 
dollar, and from this size they decreased to 
the dimensions of one's linger nail. They 
had been gathered from various sources, — 
some from the Florida coast, a few had been 
picked out of the debris strewn by the tide 
upon the sands around Plymouth ; others had 
been brought back by travellers beyond seas, 
and a few had been purchased because of 
their special beauty, and their affinity witii 
those already in possession. They had lain a 
long time in a box out of sight, though not 
out of mind, when the occasion for utilizing 
them arose, because, though they might have 
been made up into stifT-looking counterfeits 
of blossoms and foliage, the owner's sense of 
the fitness of things rebelled against such a 



disposal. But when she had a little portfolio 
containing etchings of marine views to place 
where it would be accessible to inspection, 
she saw her opportunity and improved it. 
For a much smaller sum than she would have 
had to expend for material, had she fallen into 
the "marine bouquet" folly, she purchased a 
pretty brass easel, well made and securely 
mounted, though very airy looking. A piece 
of pale gold India silk cost but a trifle more, 
and this she made into a scarf and fringed it 
with her sea-shells, stringing them on strong 
silk, graduating them so that the largest 
shells of each strand came first, and regulat- 
ing the arrangement to bring a tiny shell at 
the extremity. One end of the scarf was 
allowed to fall over a corner of the easel, tlie 
other to droop from the little stand which sup- 
ported it, and on the lower shelf of the stand 
were placed some bits of coral and curious 
submarine growths. Who could fail to appre- 
ciate the harmony of the entire arrange- 
ment ? 



^"^ ♦ ■■ V*' 

V 6 '^ " •"• 



NeeDLe-CF^flFr. 



299 




CHAPTER XL. 



METH0D 0F MAKING A HAMM0GK 0R TENNIS-NET. 




^HE pleasant, not tcr say 
luxurious, feeling one 
enjoys while swaying to 

f 'Q^ li'' ^P^** ''"*^ ^^° '" ^ well-made 
V^/iftyMKa hammock swung under the 
" shady roof " of some 
friendly tree, or within some bower where 
" quiet reigns supreme," is one of the strongest 
arguments in favor of this unpretentious-look- 
ing yet most delightful medium of pleasing 
repose. Persons accustomed to travel, and 
those who seek rest and enjoyment at: rural 
and sea-side resorts, usually carry their own 
hammocks with them, and find they are almost 
indispensable articles of comfort when tired 
Nature asserts herself and demands attention. 
The majority of hammocks purchased are very 
weighty, and this fault proves very often 
a reason for not carrying them with the 
travelling paraphernalia. Light ones may 
also be purchased ; but they are, as a rule, 
more expensive than the general purse can 
afford. Light, pretty ones can, however, be 
made at home, with but slight expense, and 
we have endeavored to assist our patrons 
in making one of the simplest, lightest and 
prettiest articles of this kind. 

Hammock. 

Figure No. i. — This en<rraving illustrates 



the hammock under consideration, the article 
being small in bulk and light in weight, 
although it is of the dimensions required for 
use by persons of all sizes and weights. The 
cord employed in making is of the soft cotton 
variety, this being the best for hammocks that 
are to be carried about from place to place, as 
it is very light and also very strong. The 
hammock is very easy to construct ; and by 
carefully following the succeeding directions, 
any person, either old or young, will, in a very 
short time gain a thorough knowledge of how 
to make a hamtnock. 

Wedge or Mesh-Stick. 
Figure No. 2. — This engraving illustrates 
the wedge or mesh-stick to be used in forming 
the meshes. The wedge may be purchased in 
any hardware store, or in any place where 
fishermen's nets, etc., can be bought. It can, 
however, be easily made at home, where there 
are handy boys. Take a smooth piece of 
hard wood about eight or ten niches in length, 
an inch and a-half in width, and about three- 
quarters of an inch in thickness ; and have it 
beveled or planed off toward one long edge, 
so that this edge will be about an eighth of an 
inch in thickness, leaving the heavier edge 
of the wedge from three-eigiitlis to half an 
inch in thickness. All sharp angles should be 
smoothly rounded off, and then you have your 



3°° 



NeeDLe-ci^AFT. 



wedge or mesli-stick, just as coini^lete and suit- 
able as if you purchased it. 

Needle or Shuttle, Unwound. 
Figure No. 3. — The needle or shuttle 
required in weaving the hammock is 
here illustrated. It is similar to that 
used by fishermen in making nets, and 
may be purchased wherever the wedge 
can be procured, or it may be made at home 
if a little ingenuity be e.xercised. Take a 



be made as follows : Take a similar piece of 
wood and cut out each end in a deep curve or 
heel, making the curve sufficiently deep to 
retain the cord nicely. Wind the cord 
straight up and down about this, and the 
shuttle is ready for work. 

Shuttle. Wound. 
Figure No. 4. — The shuttle is here shown 
with the cord projjerly wound on it. In wind- 
ing the cord on, hold the shuttle in the left 




Figure No. i. — Hammock. 



Figure No. 2. — \Ved(;e op ^Tl.•L;u_c;T,f-^ 



Figure No, 3.— Needle or Shuttle, Unwou.nd. 




Figure No. 4. — Shuttle, Wounh. 



smooth piece of hard wood about ten or eleven 
inches long, a little less than an inch wide, and 
only thick enough to be supple but not to 
break. At one end cut it out so as to form 
a deep curve or heel to catch the cord, and 
shape the other end oflf to a long point, thus 
producing a tongue or olive point. About an 
inch and a quarter below- the point, cut away 
the wood about an eighth of an inch from each 
side of the center, for three or four inches 
down, to form a prong or tootli, about which 
the cord is to be wound. The illustration 
shows the shape of the shuttle clearly. A 
simpler shuttle, not quite so convenient, may 



hand and wind the cord over and under, twist- 
ing it once about the prong at eacli turn. 
The shuttle should be held loosely and in the 
one position while winding, so as not to twist 
the cord, which should be wound on tightly 
so that it will not slip off during the weaving. 
\Mien the shuttle is wound, tiien commence 
as follows : Tie, hang or otherwise fasten a 
hook to a tree, table, post, door, or any article 
staunch enough to resist the strength of the 
worker. Tie the cord around tiie wedge in 
an ordinary knot, making the knot at tiie top 
or thinnest edge of the wedge, as shown by 
Diagram No. 1. Slip the loop thus formed off 



NGeQLe-CRflFT. 



tiie wedge, and throw it over the hook, placing the loop so that the knot at the hook will not 

the knot at the hook. Then take the wedge slip away from the hook. Place the thumb 

in the left hand, and hold the thickest edge close to the end of the loop, holding the cord 

toward you. Bring the cord from the loop drawn through the loop down tightly ; now 

on the hook over the wedge ; carry the shuttle throw the cord up over the loop, and pass the 




Diagram No. 





Diagram No. 



Diagram No. 2. 






DiAGRA.M No. 4. 



Dugram No. 5. 



Diagram No. 6. 




Diagram No. 7. 



/ -'I 

ll 

Diagram No. 8. 




Di.\gram No, 



up underneath, and pass it through the loop shuttle under the loop hung on the hook, 

on the hook ; pull the cord tightly, so that the taking up both threads of the loop, as shown 

sides of the loop through which the shuttle by Diagram No. 3. Pull the shuttle through, 

passes will be straight and tight, and the end carrying "it downward and holding the thumb 

of the loop even with the to]) of the wedge, as close to the loop, as shown by Diagram No. 4 ; 

shown by Diagram No. 2 ; holding the end of take hold of the cord and pull it as tightly as 



302 



NeeDLG-ci^AFr. 



possible, still holding the thumb in the posi- 
tion directed, so that the coid will not slip. 
This produces the knot illustrated by Diagram 
No. 5. The thumb must be pressed firmly 
over the cord, and the cord drawn as tightly 
as possible, so that a slip knot will . not 
be produced. Now slip this loop off the 
wedge, and carry the cord over the wedge, 
placing the top of the wedge close to the knot 
last formed, as shown by Diagram No. 6. 
Then carry the shuttle up underneath, and 
pass it up through the loop last removed from 
the wedge, as shown by Diagram No. 7 ; carry 
the shuttle downward over the wedge, also 
allowing the wedge to slip downward ; pull 
the cord tightly so as to draw the loop down 
straight and tight, and bring it close to the 
top of the wedge, as shown by Diagram No. 
8 ; then place the thumb close to the end of 
the loop, and press it closely over the cord, as 
previously directed. Then throw the cord up 
over the loop, pass the shuttle under the loop 
drawn down, taking up both sides of the loop ; 
then carry the shuttle downward over the 
wedge, and pull the cord tightly to make an- 
other knot, always holding the thumb closely 
till the knot is made. Now slip this loop off 
the wedge, and continue in the same manner 
to make knots and loops till the required 
width of the hammock is obtained. In 
calculating the width for the hammock, it 
will be well to remember that the number of 
knots will be double the number of ineshes 
in the width of the hammock ; thus : if the 
hammock is to be forty-six meshes wide, 
which is a nice, comfortable width for a ham 
mock to be used by large persons, make 
ninety-two knots in the way directed above. 
A child's hammock may be from twenty-five 
to thirty-five meshes wide ; and, to obtain 
this width, make double the number of knots. 
.\s the chain of knots increases, the loop on 
the hook may be taken off and one of the 



loof s nearer the worker thrown on, so that 
the worker may weave her hammock with per- 
fect ease. 

When the desired width is obtained, take 
off the loop on the hook and also the one on 
the wedge but do not break or cut the cord. 
Take a piece of cord about half a yard or 
more in length, and pass it in and out through 
one of either of the two rows of loops or 
meshes made, as shown by Diagram No. 9. 
Then tie the ends of the cord thus run 
through, together in a knot, and place this 
loop of cord over the hook, as shown by Dia- 
gram No. 10. Then take the shuttle and 
wedge in hand ; pass the cord Over the wedge; 
carry the shuttle up underneath, and pass it 
up through the mesh nearest the working cord, 
as shown by Diagram No. 10. Carry the 
shuttle downward, over the wedge, pulling the 
cord tightly so as to draw the loop down 
tightly, and bring it close to the top of the 
wedge ; throw the cord up over the loop and 
pass the shuttle under the loop, as shown by 
Diagram No. 11, holding the thumb and draw- 
ing the cord in the same way as above 
directed for making the meshes. Keep this 
loop on the wedge, and take up the next and 
each succeeding mesh in the same way, hold- 
ing a convenient number of loops on the 
wedge, as shown by Diagram No. 12. This 
retaining of the loops or meshes on the 
wedge is only to secure a pretty regularity in 
their size, and also avoids entanglement. 
When a convenient number of meshes have 
been taken up in this way — and extreme care 
must be taken not to skip any — take the wedge 
in the right hand, and with the left take hold 
of the first loop or mesh to the left on the 
wedge, and pull all except the last loop off; 
continue to take up the remaining meshes in 
the same way till all have been taken up. 
Then proceed to make the next row of 
meshes in the same manner, and continue 



NeeDLG-ci^AFr. 



3°3 



knotting and mesli-making till the desired end of the net made, out smooth!)-. Take 

length is obtained. A large-sized hammock, the end of the cord cut ofif, and tie it so as 

or one forty-si.x meshes wide, should be about to make a long loop ; throw the loop over the 

seven or eight feet in length. As the ham- hook, and hold one end of the net straight 

mock lengthens, the cord on the hook may be across, in front of you. Pass the shuttle 






Diagram No. io. 



Diagram No. 



Diagram No. 





Diagram No. 13. Diagram No. 14. 

Diagrams Nos." i to 14. — Mk.tiiop of Making a Hammock. 



taken out and run through a row of meshes 
nearer the weaver, so that she will not have 
to change her position. This cord is simply 
to hold the net on the hook, and should be 
removed when the net is completed. 

When the required length for the hammock 
is obtained, cut the cord off, and draw each 



through the first mesh at the left side of this 
end, from underneath, and also through the 
next mesh in the same manner ; then throw 
the cord over the hook and carry it down 
again ; take up the next two meshes in the 
same manner and again throw the cord over 
the hook, as shown by Diagram No. 13; con- 



3°4 



NseDLe-d^AFT. 



tinning in ihis way lill all the meshes in 
this end are taken up, to form the guys. 
The length of the guys from the end of the 
net to the hook should be about three feet or 
one yard ia a hammock seven feet long. 
Now wind the cord tightly about the guys 
far enough below the hook to leave a ring 
large enough to suspend the hammock, wind- 
ing the cord closely for several inches ; then 
lift the ring off the hook and wind the cord 
about it in same way, the method being illus- 
trated by Diagram No. 14. Finish the remain- 
ing end of the net in this manner, and the 
hammock is then completed. 

Ladies residing in or near the city can 
without any difficulty procure steel or iron 
rings for the hammock, instead of making the 
cord rings ; which, of course, are not so dur- 
able. When metal rings are used, hang the 
ring to be fastened on, upon the hook, and 
run the guys through it instead of on the 
hook, and wind the cord about the guys for 
several inches. 

Two, three or more colors may be intro- 
duced in hammocks of this style, and the 
result will be very pretty. Red, white and 
blue ; cream, r'cne and brown ; ar//, red and 



brown ; blue, yellow and red or brown, are all 
suitable combinations for articles of this kind. 
Tlie cord may be light or heavy in weight, 
according to the strength required, and may 
be purchased by the hank or pound ; the price 
asked for it being small, and the cost of a 
hammock therefore being proportionately 
tririing. 

The same implements and the same variety 
of stitch are essential in making a tennis net, 
and such work can be taught to young men 
and boys with strong hands, who can make 
very durable nets for this fascinating game. 
Of course after the dimensions requisite for a 
tennis net are obtained, the ends are stretched 
instead of being drawn up as for a hammock 
and are provided with cords to attach them to 
posts. 

Hammocks and tennis nets, gilded or 
bronzed with liquid or dry gilding or bronzing 
are now utilized as house decorations, and aside 
from their intrinsic beauty they are valued 
because of their associations with delightful 
siestas or exciting tournaments. They drape 
prettily and with a few sheafs of wheat, fan- 
palms or hnndsome grasses, convert a blank 
expanse of wall into a beauty spot. 




NeeQLe-cF^iiFr. 



3°S 



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5fiS 



Y^^Sf^ 






CHAPTER XLI. 



DESIGN P0R TATTIRG AMD METH0D 0F MAKING. 




-^t^rf^^ATTlNG still retains its popu- 
O^y-A^il^^ larity as a decoration, sonie- 
"IflrV, times entire panels of it ap- 
pearing on skirts, and collars and 
cufTs of it on the bodies of cotton 
dresses. As an edging or insertion 
it forms a neat and desirable trimming for 
underwear and also for children's clothing. 
Pillow-shams and tidies are made of it, and 
when underlaid with some bright colored 
silk, satin, Silesia, or sateen are decidedly 
pretty. 

Cotton or linen may be used, but the cotton 
is usually preferred on account of its wearing 
qualities. Of course there are many pretty 
designs but the stitch in all cases is the 
same. 

A very neat edging is pictured at Figure 
No. I and the method of making it is here 
accurately described. 

First insert the thread in the hole at the 
center of the shuttle, and tie it around the 
part of the shuttle in which the hole is made. 
Wind the thread around this part until it is 
tilled even with the outside of the shuttle, 
taking care to wind it evenly, so that the 
thread will run easily. Figure No. 2 illus- 
trates the position of the hand and thread. 
Hold the shuttle in the right hand, take the 



end of the thread between the thumb and 
forefinger of the left hand, pass the thread 
around the remaining fingers of this hand 
below the first joints ; slip it between the 
thumb and forefinger and pass it loosely back 
of the fingers, again below the second joints, 
holding the fingers slightly apart as shown at 
this figure ; now slip the shuttle from the 
front of the hand between the threads at the 
back of the hand, as illustrated at Figure No. 
3, drawing the thread from the shuttle tightl)-, 
as shown at Figure No. 4 and allowing the 
thread around the fingers to form a loop on 
this thread as illustrated. 

Figure No. 5 shows this loop after it has 
been drawn tight enough, and also illustrates 
the position of the thread for the next loop or 
the remainder of the stitch. For this loop the 
shuttle thread is passed in front of the fingers, 
and the shuttle is slipped between it and the 
thread at the back of the fingers as shown at 
Figure No. 6. The shuttle thread is then 
drawn tightly, the thread back of the fingers 
allowed to form a loop on it, and this loop 
together with the one already made form one 
stitch. 

Great care must be taken to have the thread 
that is first passed around the hand, form the 
loops on the thread from the shuttle, or this 



3o6 



NeeDLG-CRAFT. 



tliiead cannot be drawn. Figure No. 7 shows by tlie maker. In the ])attern illustrated at 
a number of stitches and ilkistrates clearly the Figure No. i, three stitches are first made, 
position the thread should be in. In order to then about one-fourth of an inch allowed 




Figure No. i. — Tatting Edging. 






F*iGURE No. 2. — Position of the 
H.\ND AND Thread. 



Figure No. 3. — Slipping 
THE Shuttle. 



Figure No. 4. — Draw- 
ing THE Thread. 





Figure No. 5. — Drawing the 
First Part of Stitch. 



Figure No. 6. — Drawing the Ne.\t Loop, or 
THE Remainder of the Stitch. 



connect the parts loops must be formed as between this stitch and the fourth as shown 
shown at Figure No. 8. The number of at Figure No. 8, and the stitches then drawn 
stitches between the loops must be decided up close together. 



NeeDLG-ci^AFr. 



307 



Five loops of this kind are made, allowing bringing the fingers on this hand close to- 
thiee stitches between every two loops, and gether, slip the shuttle through the loop thus 
three stitches after the last loop, and then the formed and spread the fingers again to draw 




Figure No. 7. — Showing a Number of Stitches, 

AND Illustrating the Position of 

THE Thread. 




Figure No. 8. — Showing the Method 
OF Making the Loor.s. 



wheel is complete. Enough thread is allowed 
between the wheel and the next to equal 
the distance between two loops ; and the 
thread is not broken but passed around the 
hand, as before directed. Make three stitches, 
draw the thread around the left hand through 
the nearest loop in the first wheel with a pin 



the thread tight enough, taking care to have 
the shuttle thread run easily through the 
stitches. This forms the first part of a stitch, 
and the second part is made as shown at 
Figures Nos. 5 and 6 ; then proceed as in the 
first wheel. 



*1S>;\.:<' X« * ■» »X. ■ -X. -Xt * . 'X* . > V; '>, 



]>^EEDLE A.ND ^PJUStl : 



XJSEFUL AND J)EC0R^TIVE. 



THE FORTHCOMIXG VOLUME 7X TIIF 
IS K.VTITLKIi 



illiNilliiiiii[iiinii»[iil(niiiiiii[iiiiiiiniiiii!i{iiiliiiiiiiiiiii!i{iiiiii(ii:iii:iiiii'i<!i'««niiiu 




1 1 iiniiiiiiiwii 



/T\T is uniform in size with "NEEDLE-CRAFT" and contains illustrations and 
^V accurate descriptions of useful and decorative articles developed ■unth the aid of 

\2y Needle and Brush, as well as a great deal of matter relating to subjects which 

the home artist finds indispensable to success. Its contents include valuable sug- 
gestions regarding the details of Art Nfedle- Work and the Mixing and Combining of Colors, 
and comprise numerous varieties of Fancy- Work not included in Needle-Craft. 

Each volume is complete in itself, but those who possess Needle-Craft will desire its 
companion volume '''NEEDLE AND BRUSH," as the two books may be said to form a 
complete exposition of the prevailing fashions in all kinds of Fancy- Work. 

"NEEDLE AND BRUSH" will be on sale on or about May 15, 1889. Orders received iii uiivance of 

that date will receive first atrentioii. 

The Price of "Needle and Brush" is $1.00, or 4s. 

Prepaid to any address in the United Kingdom, the United States, Canada or Mexico. 

If the Book cannot be obtained from the nearest Agency for the sale of our goods, 
mail your order direct to us, sending funds by draft, post-office or express money-order, or 
registered letter. 

THE BUTTERKK PUBLISHING CO. iumiteeii, 

7 77 to 115, Regent Street. London, W.: or 7, 9 and 11 West Thirteenth Street, New York. 



NGeDLe-CRflFT. 



309 









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CHAPTER XLII. 



DRfi(15N-W0RK. 



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Drawn-Work. 
N this chapter three illustrations of 
drawn-work are given, two of them 
being somewiiat elaborate in effect, 
■^^■^ while the other is extremely simple- 
and exemplifies a method often 
followed for finishing the hems of 
handkerchiefs, pillow cases and 
other articles requiring an ornamen- 
tal, but not elaborate completion. 
Hem-Stitching. 
Figure No. i. — The simplest style of 
drawn-work is illustrated at this figure, 
and the method of execution is as follows : 
As many threads are drawn out of the article 
to be finished as will provide a ravelled space 
of the width desired for the drawn-work, the 
distance from the edge being calculated so as 
to leave whatever width is desired for a hem. 
The threads remaining in the frayed portions 
are divided by the following process into 
groups containing eight, ten, twelve or four- 
teen threads : A needle threaded with fine 
cotton is passed to the under side, back of the 
first group and brought to the upper side in 
//on/ of this group, which is drawn tightly at 
its center by passing the thread over the 
needle, as for a button-hole stitch. The 
needle is passed iac^ of the second group to 



the under side, brought to the upper side 
again, and the button-hole stitch repeated as 
before. This process is repeated until the 
groups have all been divided and securely 
fastened by the button-hole stitching. The 
hem is then turned, and the first stitch in it 
is made by bringing the needle, from under- 
neath, through the middle of the first group 
and passing it through the turned-under 
edge. For the next stitch the needle is 
passed under the remaining threads in this 
group and brought through the hem between 
the groups. The third stitch is made half 
way of the next group, the same as the first, 
and so on until the hem is completed. Eight 
threads are as many as will usually be 
grouped when the article to be hem-stitched 
is a handkerchief, a tie, etc., and if the num- 
ber be increased, as it often will be for towels, 
and larger articles, it must be by adding 
enough to always keep the number even, as 
nine, eleven, thirteen, etc., would not permit 
of dividing each group evenly along the 
hemmed edge. 

Fancy Drawn-Work. 

Figure No. 2. — This engraving shows a 

very effective, but not difficult specimen of 

drawn-work. When it is to be executed upon 

linen of medium fineness, the width illus- 



310 



NeeDLe-CRflFT. 



tiated may be achieved by drawing out lliirty- 
five threads for eacli of the wide rows and 
twenty for each of the narrower ones, leaving 
a space equal to ten threads for each solid 
strip between the drawn portions. The needle 
is then threaded and brought from under- 
neath through the first solid space, passed 
back of the first group of six threads in the 



again, and passed through baik of the tliinl 
cluster of six threads in the ravelled porticjn 
below the solid strip. This process forms a 
sort of herring-bone stitching, over and under 
every jvw;/(/ group of six threads above and 
below the solid strip, and after one row has 
been worked all the way across a second row 
IS made, beginning with the frst group of 



li^i^Htt^^^ 



FiGUKK Xo. I. — Hem-Stitcming. 








w^A 




Figure N'o. 2. — Fancy Urawn-Wurk. 



ravelled portion above and brought out again 
\w front of this group : it is then cairied down- 
ward across the solid strip and passed back 
of the second group of six threads in the rav- 
elled portion hclow, brought out in front of 
this group, carried upward across the solid 
strip and passed back of the third cluster of 
six threads in the upper row. It is then car- 
ried downward diagonally over the solid strip 



\hreads omitted above the solid strip and in- 
cluding <7vv-_v alternatiiii^ group not taken up 
by the first row. The execution of^the seconil 
row develops a double herring-bone effect. 

Upon the second solid strip the process 
is repeated with a slight variation. The 
needle is brought up from underneath and 
passed back of the first group of tu^eh-e 
threads, carried diagonally downward across 



NeeDLG-CRAFT. 



311 



ilie solid strip, passed under the second group 
of twelve at the lower edge of the strip, 
brought out in fi-o?it of this group and carried 
upward across the solid strip to the third 
group of twelve, passed through Imek of this 
group and brought out \v\ front of it, the pro- 
cess being repeated all the way across. This 
omits every alternating group of t^velve threads 
and these are taken up by the second row 
which begins with 'Cae. first one omitted by the 
first row. When the double herring-bone is 
perfected it differs only from the double row 
first worked by being more open. 



process is given in detail so as to be of the 
utmost possible help to those who are not 
acquainted with the detail of drawn-work ; and 
by studying it in connection with the engrav- 
ing, even a beginner will find it easier than it 
seems. 

Drawn-Work in Block Pattern. 
Figure No. 3. — This is the most delicate 
and cobwebby of the three styles of drawn- 
work illustrated, and e-xtremely careful hand- 
ling is requisite to its successful execution. 
Upon the material to be drawn squares o^ fif- 
teen threads are first marked with tiny dots. 



^TTQfiniflfirT 



■4^ 




BBiiJifi&i^: 



Figure No. 3. — Dr.wvn-Work in Block Pattern. 



On the third solid strip the double herring- 
bone is worked exactly as on xhtt first, and 
then the ravelled threads in each of the wide 
strips, which by the process described are 
divided into groups of six, are drawn over and 
under each other by running a needle 
(threaded) under the first six, bringing this 
group forward under the second, and slipping 
the needle and thread bet?aeen them so as to 
hold them in their reversed positions at their 
center in the manner illustrated by the en- 
graving. 

.■Mthough the description is quite wordy the 



and then every second square is cut out with 
sharp, short-bladed and pointed scissors. For 
the first row : pull out the crosswise threads 
from the first square, leaving the next square 
solid and repeat all the way across. For the 
second row : The first square being already 
cut out, leaves an opening beneath the first 
drawn square in the first row ; from the 
square nearest this opening pull out the 
lengthivise threads and repeat through all the 
solid squares in this row : For the third row 
proceed as for the first. For the fourth as for 
the second, and so on, through whatever nuin- 



312 



NeeDLe-CRAFT. 



her of rows are desired. For the net-work or 
lace stitches thread a needle witii tine cotton. 
Divide the first square from which the cross- 
7aise threads were drawn in beginning the 
work into three clusters of five threads each. 
ThL-n pass the needle under the first cluster 
and bring it up between the first and the 
second clusters, passing the thread over the 
needle as for a button-hole stitch. Repeat 
tliis process for the second and third clusters 
and carry the thread across the open space to 
the ne-xt square from which the crossivise 
tiireads were drawn in the beginning, dividing 
the lengtlnvise threads in this square into clus- 
ters of five each and repeating the button-hole 
stitch as described for the first square. Re- 
peat this process until all the squares from 
which the crossiuise threads were first drawn 
have been divided and button-hole stitched. 
Then insert the needle at the first open space 
in the second row, and carry it diagonally 
to the opposite corner of the first solid square 
in the row below, securing it invisibly at this 
corner, and passing the needle diagonally 
under the solid square and also fastening the 
thread firmly at the opposite corner of this 
square ; repeat this diagonal arrangement 
across all the open spaces. 

Continue the net-work by inserting the 



needle at the lower outer corner oi the left hand 
open square in the last row and carry it diag- 
onally across this open space to the opposite 
corner of the solid square, fastening it securely 
and passing it beneath the solid square. Re- 
peat this process until all the openings are 
crossed diagonally upivard in the same man- 
ner as they were previously crossed diagonally 
downward. 

Insert the needle at the center of the out- 
side edge of the first open square and carry it 
to where the diagonal threads and also the 
straight thread (the one used in dividing the 
clusters), meet at the center of the squares, 
fastening all three threads together securely 
at their centers by a button-hole stitch. Now 
carry the needle to the middle of the adja- 
cent square from which the lengthwise threads 
were dr'awn at the beginning, dividing them in 
groups of five and fastening each group with a 
button-hole stitch in the same way previously 
described, and so on until the design is 
completed. 

From the knowledge gamed in the develop- 
ment of these three specimens many varia- 
tions in drawn-work may be thought out by 
anybody who is interested in this pretty pro- 
cess of elaborating the original warp ayd woof 
of a plain fabric. 






NGeDLG-CI^AFT. 



313 



.■■ ^.^■■ig^-:l@ng).-'-^;3^-'-^^;^--^:3^^ 




CHAPTER XLIir. 



APPLIQUE W0RK 




PPLIQUE work is one of 
the most fashionable as well 
as fascinating varieties of 
fancy work, and it possesses 
the added advantage of be- 
ing well adapted to the 
decoration of articles to 
which it is desired to give 
an elaborate effect with a 
small oiitia)- of time and money. Of course 
care and attention to details are essential to a 
good effect in the development of any kind of 
needlework, and they cannot be ignored in 
this variety ; but after a little practice the 
worker finds herself able to progress rapidly. 
Very handsome effects are obtainable by 
using satin, or ribbed silk for a background to 
felt, billiard-cloth, chamois or velvet. Felt 
or cloth in two shades may also be arranged 
to produce a very attractive result. 

Cover, Decorated with Applique Work. 

Figure No. i. — This engraving illustrates 
a cover suitable for a table, or any piece of 
furniture upon which such an article is 
usually placed. It is made of felt in two 
shades, the darker shade being placed under- 
neath so as to show beyond the edge and 
tlirough the openings of the lighter shade. 



The detail of the applique work is fuUy 
illustrated at Diagram A on page 316 ; and a 
simple process of reproducing the outline is as 
follows : The lower or extreme outer lines 
are traced on thin paper and then cut out and 
this paper serves as a pattern which may be 
duplicated on stiff paper or card-board and 
the edges of the under portion shaped by 
them. The second unbroken line in the 
diagram indicates the edge of the upper or 
lighter felt portion, and this, as well as the 
outlines which indicate the open spaces, may 
be traced upon thin paper, cut out and then 
used as patterns for shaping stiff paper or 
card-board to cut the felt by. The felt should 
be laid smoothly upon a table or board, and 
the outlines of the patterns marked upon them 
with red ink, a colored pencil or any imple- 
ment which will leave a clear impression upon 
the fabric. With small, sharp-pointed scissors 
the outlines and openings are then cut, 
and the egg-shaped openings couched all 
around with filoselle. The upper and under 
portions of the cover are tacked together, 
invisibly between the curves of their outer 
edges and, if expedient, through the couching 
also. In cutting the oval corner openings the 
tiny space between the crossed portions must 
of course be delicalelv managed. As what 



3'4 



NeeDLG-cF^flFr. 



appears to be two sections really consists of however, to refrain from cutting more than 
only one and as the shape is easily reproduced it is probable can be finished within a short 




Figure No. i. — Cover, Decorated « i ih Ai'i'i.ini ]•. WUkk. 




Figure No. 2. — Cushion Dixorated with Apim.uji ic Wukk. 



by the method described, not the slightest diffi- time after cutting, because much handling 
culty need be feared. It is a wise precaution, is apt to fray or stretch the edges. 



NeeDLe-ci^iiFT'. 



315 



Filoselle is one of the best materials 
for couching. As many strands as are 
desired may be used and the stitches 
which hold them in place may be rendered 
invisible by proceeding in the following 
manner: Hold the strands in position with 
the left hand and with a needle threaded, with 
silk or a strand of filoselle make a stitch 
through half of the strands to hold them along 
the edge they are to finish. Then carry the 
needle along the under side of the goods 
for a short distance before bringing it to the 
outside again. Pass the next stitch over the 
strands that were left loose by the preceding 
stitch, taking care to keep all the strands 
smooth. The next stitch should cover the 
same half as was held down by the first stitch, 
and so on, until the edge is entirely couched. 
Contrasting colors or graduated shades may 
be introduced in couching, with good effect. 
The openings inside the edges may also be 
couched, or all the edges may be finished 
with button-hole stitching or any kind of 
fancy stitching in keeping with the mate'ial 
selected. Of course the under portion should 
be cut enough larger than the upper to allow 
for the projection of its edges. The colors 
chosen for this cover are &ru and seal, and 
the combination is very effective. 

Cushion Decorated with Appliqu^ Work. 

Figure No. 2. — This cushion is made of 
billiard-cloth and plush, the latter material 
consisting of pieces which are laid underneath 
the openings in the billiard-cloth. The exact 
shape and sizes of the openings are illustrated 
by Diagram B, on page 317. A few stitches 
are made along the edges of the openings to 
hold the plush in position and then all the 
edges are button-hole stitched with heavy 
Bargarran cotton. The diagram is one-fourth 
the size of the cushion, as much margin being 
allowable as is requisite to the dimensions 



desired. The edges may be couched, if de- 
sired, and the plush under-portion may be in 
one piece ; but as every lady who does fancv- 
work is apt to accumulate pieces that can be 
utilized for this purpose an opportunity to use 
them will not be overlooked. Tiie outlines 
for the openings in the billiard-cloth may 
be marked on thin paper and then cut out as 
described at Figure No. i ; or they may be 
traced upon tracing paper, which may be 
perforated to permit of reproducing the outline 
upon the material with powder or tracing ink, 
according to the preference of the worker. 
This method of applying the smooth material 
upon the plush is more satisfactory and more 
easily developed than the opposite one of 
applying plush on a smooth fabric. Any ma- 
terials suitable for applique work may be 
selected for a cushion of this style. 

Diagrams C and D. — These two engravings 
show the detail of two very attractive styles of 
applique work. Both are especially pretty as 
borders for mantel-boards or for finishing 
scarfs or covers. Each design permits of 
either of two methods in its development. 
The outlines illustrated may be reproduced 
in whatever contrasting material is chosen for 
the purpose and applied upon the material 
proper with button-hole or couching stitch, 
or with any other variety or combination of 
stitches preferred. The outer lines represent 
the edges of an underlying material in each 
instance, and the lines next to them the edges 
of the outer material. The enclosed oblong 
spaces which come next in each and the 
smaller circles in Diagram C, as well as the 
tiny circles and the petal .shaped sec- 
tions in Diagram D, may be cut out to 
permit the material luiderneath to show 
through ; or the outlines above the lower two 
rows may be duplicated in contrasting mate- 
rial and set upon the outside. The large 
circles in Diagram C and the very small ones 




DiAi-.RAM A.— Showing Df.tail of Cover Decoration 



NeeDLe-d^fipr. 



317 



(which are the only ones) in Diagram D may When Bolton sheeting is selected for border- 
be worked in a back-stitch with floss, filoselle ings, cushions or covers a beautiful effect is 




Diagram B. — Showing Detail of Appliqu^ Design for Cushion. 



or crewel instead of having the spaces they obtained by duplicating the outlines of any of 
enclose covered with appliqueed work, the various designs given in this chapter 



3»8 



NeeDLe-cr^AFT. 



and working over them with ]niilelte and material may be treated upon its reverse side 
button-hole stitching done in the manner with a sizing of gum-arabic or white glue and 




Diagram C. — Showing Dktaii. ok ISordkr for Appliqu^ Work. 



described on another page of this bool<. When the satin pasted smoothly upon it to dispense 
satin is used for the background the outer with sewing. 



NeeflLG-ci^iiFr. 



319 




Diagram T>. — Showing Detail of Border for Applique Work. 



320 



NeeDLe-CRflFT. 



A very artistic example of this class of work net-work of tinsel cord held in place with in- 

is a table-scarf of olivd cloth, having its ends \isible stitches. The tinsel is such as is 

cut out in an open pattern and underlaid with bought by the ball for a trifling sum, and the 

crimson satin. The latter is visible through a work is easily done and very attractive. 



SyiDg tt?e Curtains Back. 



What to use for tying back the curtains at 
doors and windows is often hard to decide, 
unless one be content to follow the lead of 
those who are satisfied to do as others do. 
Ribbon harmonizes with lace, but it is prefer- 
able to let lace curtains fall in unbroken 
lines, unless they are to remain permanently 
in the folds in which they are draped. If 
there are inner curtains of silk or any fancy 
fabric they may be draped back with good 
effect. Cord, ribbon, metal chains, strings 
of imitation antique coins, etc., are used for 
the purpose, and in addition there is a fancy 
for using scarfs of contrasting material. 
Those of thin Japanese or Chinese white cot- 
ton crape, enriched at their ends with silken 
and metallic embroidery, are especially ad- 
mired. They tie more softly than ribbon, 
and their beauty is very apparent in such a 



disposal. A portiere betw^een two rooms may 
be draped with these scarfs, or with those of 
pongee or India silk, decorated with metallic 
cord or lustra painting. Where the arrange- 
ment of the hanging suggests the use of wide 
bands, which shall support without too closely 
confining its folds, wide velvet ribbon may be 
used with rich effect. Black is the best color, 
because it permits of the development of an 
elaborate embroidery pattern in a variety of 
metallic hues. The metal cord may be pur- 
chased at a slight expense, and easily sewed 
to position. Common ticking, in the familiar 
blue and white stripe, may also be utilized to 
make curtain straps. Of course it serves 
only as a foundation, the white stripe being 
overwrought with fancy stitches in a variety 
of colors, and the blue ones with tinsel cord 
or braid. 



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